Plotter: Francisco Gerardo Hagenbeckm Humberto Ramos, Oscar PintoĬolorist: Alex Bleyaert, Ian Hannin, and Image Comics At the same time, the font size of a word suggests the physical distance between the sound and the object from which it derives.Ĭrimson #3A, “Payment in Blood,” July 1998 For example, the length of the sound of a car horn could be indicated as fast (“BEEP”) or slow (“BEEEEEP”) depending on the number of “E’s” in the onomatopoeia. The number of repeated letters within a word conveys to audiences the duration of the sound. A defining feature of the interaction between sound effects and time in comics is the phonetic length of the onomatopoeia. EnvironmentĪs with music, sound effects can dictate the environment of the comic both physically and temporally. Many other comics within this spy thriller genre utilize similar descriptions, as opposed to visualizations, of sound, as well. This fight sequence on a boat from “The Official Secret Agent,” which is drawn in a noir and spy thriller style, features the phrase “Two shots ring out…” instead of an onomatopoeia of a gunshot such as “Bang!” This style is dialogue and narrative-centric, so including an onomatopoeia would disrupt the stylistic flow of the comic. Within some comic genres, creators avoid using sound effects altogether. A unique feature of this page is that while most comics integrate the sound effects into the other parts of the panel, such as the landscape and figures, the first page instead integrates the figures into the words, with the body of Popmaster sprawling in such a way that it creates the gap in the letter “A” of the final “BLAM!” The second page displays the result of this violent confrontation, with Popmaster falling to the ground with multiple gunshot wounds. Overall, the grungy style of the comic is maintained in this high-intensity moment through these specific visual decisions. The jagged, scratchy font of the words reflects the gritty punk genre of the rest of the comic, and the red coloring that seeps down the page evokes the idea of seeping blood. The culmination of these two storylines is the assassin shooting Popmaster multiple times, as evidenced by the repeated “BLAM!” onomatopoeia on the first page. However, unbeknownst to him, an assassin is preparing to kill him. In the story preceding this splash page, “Popmaster,” a gang leader, walks around confident in his defeat of other rivals and gangs. Kick Drum Comix #1, “Death of the Popmaster/Coltrane’s Reed,” September 2008 Kick Drum Comix Image 1 Kick Drum Comix Image 2
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