A.D. and The Pekar Project
I never knew that comic artists put in so much thought into just one panel. However, I have always wondered how comic artists convey their ideas so clearly to readers.
After poking around The Pekar Project website, I believe that most of Harvey Pekar’s works on himself are all pointed to him being senile and angry. This is interesting, because if one was actually senile, he or she would not label himself or herself as senile. Through exploring the webpage, I did not notice any non sequitur comics, but I did notice every other style of frame-to-frame transitions. A lot of his work is duo specific, but very few, such as Pekar & Rushkoff Kibbitzin’ How Life Got Incorporated are picture specific. Harvey Pekar’s work flows very well; it follows the Choice of Flow mentioned in Making Comics by McCloud. I am not sure if it is just because the comic is online, but a lot of Pekar’s work do not use frames, they are usually just one picture. Nevertheless, Pekar’s comics flow very well.
A.D.’s New Orleans after the Deluge was a great work on Hurricane Katrina and the emotion and frustration that ensued. Using page by page comics, I believe the work built suspense in the reader, making every next page better than the one before. A.D’s comics convey emotion and feelings very well by using explicit language, not changing the words to make the work more “suitable”. Not withholding critical information from the reader makes the comic feel more personal. A.D.’s work made me really emphasize with the victims of Hurricane Katrina. Unlike Pekar’s work, a lot of A.D.’s work uses frames and different points of view to create the story; some frames are completely empty with only one character in the frame, conveying a sense of loneliness and sadness.
Before reading the comic by McCloud about making comics, I had never looked at comics this way. Comics have a whole new value to me, because now I understand how much thought is put into just one frame.