99 способов рассказать историю упражнения в стиле

Мэтт Мэдден «99 способов рассказать историю»

Перевод с английского Михаила Заславского

Маст-хэв для начинающих иллюстраторов, интересующихся комиксами.
Цех

Это не только набор пародий, но и быстрый взгляд на то, в каких только формах может существовать графический нарратив: от инструкции по сборке и набора внешне не связанных между собой объявлений до викторианских карикатур и супергероики.
COMICS IS DEAD

Вы можете добавить еще несколько БУМкниг из нашего каталога, и мы доставим вам книги на дом бесплатно. Подробнее читайте здесь.

Описание

«99 способов рассказать историю» — самая известная работа Мэтта Мэддена, американского автора, преподавателя и комикс-теоретика, участника творческой группы OuBaPo (Цеха потенциального комикса). Это сборник одностраничных комиксов, которые пересказывают один и тот же будничный случай при помощи разных нарративных и визуальных приёмов. Небольшая житейская зарисовка превращается то в драму, то в триллер, то в пародию, то в логический парадокс или же отправляет читателя в путешествие по истории и жанрам мирового комикса. Книга Мэтта Мэддена может стать настольным пособием для сценаристов и художников комиксов, дизайнеров, режиссёров и аниматоров.

Публикация «99 способов» принесла Мэтту Мэддену кавалерство французского ордена Искусств и литературы.

Размер издания: 170×215 мм
Количество страниц: 224
Тип переплёта: твёрдый
Год издания: 2019
Возрастная категория: 16+

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99 способов рассказать историю

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This is tagged as «an exploration of storytelling that will amuse and delight you, and inspire your own creative work—your novel, your comic, even your film.»

I picked it up as a creative inspiration piece. Reading it reminded me of watching improv theater.

Every spread in the book has the same script. But every spread in the book tells the story in a different way. Some are slight differences, such as altering the POV, others change the genre (space fiction, western, detective novel), others pl This is tagged as «an exploration of storytelling that will amuse and delight you, and inspire your own creative work—your novel, your comic, even your film.»

I picked it up as a creative inspiration piece. Reading it reminded me of watching improv theater.

Every spread in the book has the same script. But every spread in the book tells the story in a different way. Some are slight differences, such as altering the POV, others change the genre (space fiction, western, detective novel), others play with the telling of the story in artistic ways, such as the page where the props from the panels are given as though being catagorized, but no dialog is included.

I’d been musing lately on the marriage between a story and the telling of it that produces art. Each retelling of a story can be remarkably unique and delicious—witness how multiple retellings of the same classic tale (say, for instance, the Cinderella story) bear the distinct artistic mark of their tellers.

This book added thought-provoking illustrations to my internal conversation on the subject.
. more

Some variations of the simple story are in the style of specific people, and others are in the author’s style but with some kind of twist in the way he would normally tell it. Some examples are «Unreliable Narrator,» «Photocomic,» «One Panel,» «Thirty Panels,» «Cento,» «Map,» «Storyboard,» «Personification,» «The Next Day,» «Too Much Text,» «Minimalist,» «Horizontal,» «Vertical».

Some of them seem kind of just some way to change the comic, like «What’s Wrong with this Comic?» and «Inking Outsid Some variations of the simple story are in the style of specific people, and others are in the author’s style but with some kind of twist in the way he would normally tell it. Some examples are «Unreliable Narrator,» «Photocomic,» «One Panel,» «Thirty Panels,» «Cento,» «Map,» «Storyboard,» «Personification,» «The Next Day,» «Too Much Text,» «Minimalist,» «Horizontal,» «Vertical».

Some of them seem kind of just some way to change the comic, like «What’s Wrong with this Comic?» and «Inking Outside the Box,» but some really get at some very interesting differences, demonstrating ways that the reader’s experience of the story is influenced by the way it is presented.

«Underground Comix» was just hilarious, and a lot of them I was impressed by how he could change his style. The style matching of «Bayeux Tapestry» was really impressive. The author makes some references that might not be clear, but he explains a number of them at the end of the book in something like an appendix.

«Personification» stood out to me (the objects talked, and the people didn’t) for some reason. I guess it’s refreshing and gives it personality, kind of puts life to the ways we might experience things but not always acknowledge.

«No Line» was just black and white without outlines, and it was pretty nice as a change from the usual line-filled or line-led comics we see.

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99 способов рассказать историю упражнения в стиле

БУМКНИГА • ИЗДАТЕЛЬСТВО КОМИКСОВ запись закреплена

Выиграйте одну из БУМновинок! Объявляем конкурс репостов!

Друзья, мы решили разыграть три весенние БУМкниги, о которых рассказали в первой половине недели:
• «Берген» Аньи Дале Эвербю — рисованная история о трудностях самоопределения в самом дождливом городе Норвегии;
• «Притворяться — значит лгать» Доминик Гобле — графический роман о том, какие формы может принимать ложь и как она влияет на отношения между близкими. В 2007 году книга получила главный приз Международного фестиваля комиксов в Ангулеме;
• «99 способов рассказать историю» Мэтта Мэддена — настольное пособие для сценаристов и художников комиксов, дизайнеров, режиссёров и аниматоров.

Чтобы принять участие в конкурсе, вам нужно:
— быть подписчиком нашей группы;
— поделиться этой записью с друзьями;
— написать в комментариях, какую книгу вы ждёте больше всего и почему.

24 мая при помощи генератора случайных чисел мы определим 5 счастливчиков, которым уже в конце месяца отправим желанную книгу в подарок. Обратите внимание: доставка призов осуществляется только по России.

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Let me start by quoting from the blurb:

Well, Matt’s work may not have been quite as original as this statement suggests. In 1963, Gallimard published an illustrated edition of Exercises de Style, which contained drawings by Jacques Carelma Let me start by quoting from the blurb:

Well, Matt’s work may not have been quite as original as this statement suggests. In 1963, Gallimard published an illustrated edition of Exercises de Style, which contained drawings by Jacques Carelman, a painter and illustrator in the general group of experimental artists who collectively formed the «Ou-x-po». In this book, we find an illustration of Queneau’s story, presented in the form of the Bayeux Tapestry(*). Of course, Matt shows his own version of the tapestry, tailor-made to represent his story, but the idea itself appears derivative.

(*) I have not actually seen the original edition, but there is a picture of Carelman’s illustration in «Mathews, Harry & Alastair Brotchie, Oulipo Compendium, London 2011, p 148.»

Still, this was the only major disappointment I had when I looked through Matt’s book. Overall, I thought it was a good effort, but also no more than that. Still, some of his strips are real gems, and show the wit and visual impact that I was hoping to find in more of the book.

But I think I need to take a step back and chat a bit about the tradition in which I believe Matt’s work needs to be placed. In 1960, French writer Raymond Queneau and his mathematician friend Francois Le Lionnais founded an experimental literary group in Paris. The members of the group liked to muck around with literary and linguistic conventions and typically worked by setting themselves constraints which they themselves invented. They would then write a piece of literature that satisfied the constraint and see whether the result was interesting (for example, writing an entire novel without using the letter «e»). They called this «workshop for potential literature», in French «Ouvroir de Litterature Potentielle» or OuLiPo for short.

It should not take long for the concept to spill out into other forms of cultural activity, and soon there were two other main groupings, «Oulipopo» and «Oupeinpo». The former would muck around with conventions of crime novels (ouvroir de litterature policiere potentielle), the latter with those of paintings, in obvious notation, so to speak.

But of course, lots more structured cultural activities exist, and the concept spawned several other groups, who variously mucked around with conventions found in cooking, music, photography, and. you guessed it, comics. Those in the know like to refer to these «off-mainstream» ouvroirs generically as «Ou-x-Po», and the one we are interested in calls itself «Oubapo», for «ouvroir bd potentielle», and everybody French of course knows that «BD» stands for «bandes dessinees», a form of literature the English-speaking world would call «comic strip». [For background on this movement, see Oulipo Compendium, as quoted above under (*), introductory essays]

Phew. Finally I got to the point. Are you still with me? This is possibly one of the more abstruse subjects in literature to talk about, but I am chatting about Matt’s book in this review, and as it stands in the direct tradition of Oubapo, it is useful to know this stuff. In fact, Matt took a sabbatical from his teaching job at Yale to live in France, and he made contributions to at least one Oupus, the name given to the Collective Publications of the Oubapo. [For background on Matt, check out his blog here]

So, to be fair to Matt in my critique, I think I need to acknowledge that he actually set himself quite a complicated brief: He started out with the intention of showing 99 different ways in which the language of comics can be used to achieve different effects. But he chooses to do this in a style analogous to Queneau’s model, and this is where things get difficult. Queneau himself did not really show 99 different existing styles, and demonstrate their relative merits, he played around with literary conventions in an anticipation what 13 years later was to become Oulipo. So Matt tries to achieve both, show the impact of different existing comic book styles, and at the same time play around with them, and destroy their conventional building blocks.

Most impressive, however, are the three strips that conclude the book. They do not really investigate style, or stand in the tradition of Oubapo. They would not make sense without the odd familiarity that, after 96 strips, we have come to feel for Matt, Jessica, and the fixtures of his flat. In «No Refrigerator», I was actually sad to see it gone. In «No Jessica», I mourned the void that had entered Matt’s life. And in «No Matt», the concluding strip, I felt a haunting sense of absence as the camera panned through the empty rooms, echoing with the faint voice of Jessica’s unanswered call, amplifying the oppressive silence that remained.

My ribboned hat is off to Matt. The journey had its ups and downs, but the finish was masterful.

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99 способов рассказать историю. Упражнения в стиле
Мэдден Мэтт

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