Oblique Comix Strategies

Oblique Comix Strategies

time to revisit these 

  1. A large block of text
  2. Summarize the most important part
  3. Narrated by a third party who we see
  4. Why so little suspense?
  5. Foreigners, their language(s)
  6. Blank spaces, blank panels
  7. Duplicate panels
  8. Give character what she wants but make her work for it
  9. Work as someone who doesn’t love (      ).
  10. Description, description, description. But it falls away under too much scrutiny.
  11. Announce the inspiration
  12. The way something feels
  13. Make a metaphor you don’t understand
  14. Hide the inspiration
  15. Draw from a common well
  16. The first folk tale that comes to mind
  17. What is the silent gesticulating person talking about?
  18. The (character’s) physical limitations make for a bizarre finale
  19. Silent visual metaphor
  20. Someone else’s visual POV
  21. Action described
  22. Something odd, later contextualized
  23. Everything is off panel
  24. Why show it?
  25. Who knows but isn’t telling?
  26. Announce the climax early on
  27. What can you censor?
  28. Character emulates the stories he loves
  29. Incantation
  30. Chorus, backing vocals
  31. Paranoid (Beat It, Billy Jean)
  32. After Tezuka: maze of confusion
  33. Something ephemeral
  34. Jokeless / Pointless
  35. Comic like Joe Frank: different monologues from different people
  36. Two faces in profile
  37. Parts of the speaker or listener
  38. Symbolic imagination of protagonist or listener
  39. Admit to a weakness
  40. Run the time out before the ending
  41. Add a surprise – introduce a new event
  42. Too many people or things
  43. Totally alone in the panel
  44. Something transferred or exchanged
  45. Mood, place, light
  46. Twice as nice
  47. A spotlight
  48. Verse chorus verse chorus
  49. What it’s like to be dead (from Calvino)
  50. Entirely the social sheen (from Calvino)
  51. Nonsense syllables
  52. Show the rhythm
  53. It’s about pictures: (comics, film, photography, etc.)
  54. Lord of the flies
  55. Emo BG
  56. Things are not what they seem
  57. Off the mark (from last panel)
  58. 1st person stream of consciousness
  59. Break chronology
  60. The forces -not us- are pushing us together or pulling us apart. (mountain goats)
  61. 2nd person narration
  62. Steal from …
  63. Sound with no sound
  64. The text comes from a face in an ad, a t-shirt, etc.
  65. Simply state what you need (I just need to see you.)
  66. Distorted anatomy
  67. Highly subjective: white on black, fractured, etc.
  68. It has already been written
  69. FATE: dealing the cards from the bottom.
  70. Unreliable first person narrator. unreliable 3rd person narrator.
  71. Vertical panels. slivers.
  72. Unfinished drawings
  73. Phone call. black vortex (from Tezuka)
  74. Unglued
  75. More action than you can handle
  76. More glue
  77. Three silent pictures, a barrage of words.
  78. Slow down the drum track
  79. Absolute objectivity
  80. Parody your favorite thing
  81. Exert yourself physically before tackling the problem
  82. Gray out the main character
  83. What would the anti-you do?
  84. Viewer and viewed in same panel
  85. Balloons you can see through
  86. Pornography: expected situations, expected responses
  87. Words from the other side
  88. Rundown of a series of characters. the last one is profound, different
  89. Book within a book
  90. Powerful character whom everyone orbits
  91. Side characters hate the main. He is in opposition to the side characters
  92. Vast summaries: “he made it to morocco and found himself at…”
  93. Narrator is an interloper. Watches and never participates
  94. The story is description, before the human elements arrive.
  95. Shift the timing/ out of phase.
  96. A book of stories
  97. Blind offerings
  98. Language
  99. Add emotional sounds
  100. Add or subtract verbs
  101. Now categorize it
  102. Go back 100 years
  103. Read an article
  104. Bring a passenger
  105. The location and the society- how do they integrate
  106. A very obvious symbol
  107. The next best thing to being there
  108. Not for print
  109. Emphasize the pecking order (from Weissman)
  110. One character is fast, one is slow (from Johnstone)
  111. Chop a head of lettuce
  112. What has yet to materialize?
  113. Start the kissing
  114. A brick in the head
  115. Sudden death
  116. Create a wolf: (Tame it, ride on it, make love to it or be torn to pieces but interact with it. From Keith Johnstone.)
  117. Everything from the wrong POV (Derik Badman)