Mashup 14: Love and hypnosis

By taking one (and only one) panel from each of ten randomly selected comic books, I will now spin for you a tale of love, hope, and sordid physical violence!


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Random Panel: Nick Fury, Agent of the Neighborhood Association

From What The, Issue 2 by Marvel Comics

Random Panel: Thoughts on my 39th birthday

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Random Panel: So that's why my body never gets chosen. Thanks Dad.

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Caption Contest 12 Prize

xStacy and I have completed the prize for the Caption Contest 12 winner. The description was:

Female, light hair, in standard gunslinger gear--boots, jeans, shirt, tied-down revolver, duster, a Confederate cavalry hat--with a fan of five cards in her left hand. Maybe facing off with a giant tarantula or two somewhere in the Arizona desert.

I wasn't able to work in the giant tarantulas, but here's what I did come up with:

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Thanks to Stace for coming up with a cool concept. And don't forget, if you want to win your very own custom illustration, you can try your hand with Caption Contest 13: Naked Guy Edition going on right now!

Printing fix

Thanks to several alert readers, HeroMachine 2.5 Online has been updated so that the entire character, including the name box if visible, will print out on one sheet. Previously the new "ad" format had chopped the character off at the ankles when printed.

The solution was inelegant, at best. I introduced a dialog box in the app when the print button is pressed. The character area is shrunk down while it's up and processing the print request. Whenever the character is done printing (i.e. when you've clicked the OK button on your system print dialog box), you can clear the HeroMachine dialog box and the character resizes correctly.

Kludgey, but it works.

This is actually an improvement over the original release in terms of the actual printing, as the bottom edge of the name box was always chopped off before. So that's nice.

Let me know if you see any problems with it.

Frozen moments and sound

A good onomontoPOWia doesn't have to be flashy or obnoxious; sometimes subtle works better, as in this example from "Hitman" number 9 (DC Comics):

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This panel encapsulates a lot of what makes comics as a medium so powerful and unique. It captures the moment of maximum effect incredibly well, by which I mean that you see everything at its most dramatic possible instant. Look at the policeman in the back -- if he leans any further to his left he'd fall over. He's been captured at the very moment of maximum movement.

So is the female detective's punch. In the very next moment the arm will begin to swing back away from the reader, momentum slowed and its power completely spent. Were she drawn with the fist earlier in the punch, there would still be too much energy to come, spent on potential rather than kinetic visual impact.

And of course, the tooth. Captured just as it's about to leave the panel completely, trailing blood making for motion lines, almost leaping from the page.

In this context, of a timeless moment of intense drama with every movement captured at maximum intensity, the "KRAK!" in intense red, filled with sharp angles and an aggressively pointed "A" is the perfect cherry on top, the extra garnish on the plate that makes the meal. Anything more would be too much, anything less would be disappointment. Sound can only exist in time, and yet it's been captured here in static form. When you put that time-dependent element into a tableaux that is frozen time, the contrast is uniquely "comics".

And uniquely onomontoPOWia.

Random Panel: Things you shouldn't say on a date

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Dr. Strangeporn

I'm the last person in the world to complain about an artist using reference photos for their comic book layouts, because I do it all the time. But women in comics are treated poorly enough without having your entire reference file consist of images from "Playboy", as appears to have happened in the pages of Doctor Strange (issues 10-14):

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Random Panel: The day Michael Jackson came to town

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