“Marsupilami and the Black Panther” tribute comics by CommDe students

On the occasion of the 150th Anniversary of Friendship between Belgium and Thailand, and to explore the ability of comics to tackle social and political issues with much effectiveness and immediacy, 8 students at the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University, Bangkok, Thailand) were asked to create 2-page comics starring the Marsupilami -an imaginary animal created by Belgian cartoonist André Franquin (for Belgian publishing house Dupuis in 1952)- and addressing the recent story of a construction company mogul charged with six poaching-related crimes (including the killing of a black Indochinese leopard/panther) in a Thai Wildlife Sanctuary. High-resolution pages are displayed at the end of this post, after an introduction to the historical context and the guest-lecture on André Franquin.

Marsu vivi 2
Poster of an angry Marsupilami for the “Geneva League Against Vivisection”. By André Franquin (1970s).

1. Historical context

radio_04-9291f
Left: cover of The Secret Chronicles of Thungyai (1973). Right: illustration of a “gaur lying dead under the Thai flag” by Prayoon Chanyawongse in The Secret Chronicles of Thungyai (1973).

The Secret Chronicles of Thungyai [Naresuan Wildlife Sanctuary] (in Thai: บันทึกลับจากทุ่งใหญ่) is a journal published in 1973 by a group of students against elephant hunting (and other animal poaching) in Thailand in the aftermath of the crash of a military helicopter in the Thung Yai forest revealing an illegal hunting party of senior military officers, businessmen, family members, and a filmstar. The ‘zine’ documented “the ecological value of the area as well as the incident” (The Nation, 2018), and was accompanied by satirical illustrations from various influential cartoonists (with an introduction, and two illustrations, by the “King of Thai Cartoon” Prayoon Chanyawongse; see figure above). 200,000 copies of the student journal were sold in 2 weeks (Eawsakul, 2015), fuelling nationwide public outrage. “In a time of great political unrest the incident became a focus for the prevailing discontent with the military rule” and “a rallying cry for the pro-democracy movement” (Seub/Stewart-Cox 1990:34), triggering public protest and demonstrations. “The protests were suppressed on October 14, with scores of killed, followed by a great number of students fleeing to the forest to join communist groups” (The Nation, 2018). The bloody crackdown ultimately led to the fall of the Thanom-Prapas regime. “The area finally was declared a Wildlife Sanctuary in 1974 under a new democratic government” (Buergin, 2001).

44 years later (on February 5, 2018) in the same Wildlife Sanctuary, construction company mogul Premchai Karnasuta -the 63-year-old president of Italian-Thai Development- and three other men were charged with six poaching-related crimes after they were caught with “two rifles, a double-barrelled shotgun, various bullets, the body of a Kalij pheasant, a muntiacini deer carcass, a skinned and salted black leopard and a black panther skull”. (Thaitrakulpanich, Khaosod English, 2018a). “Investigators examining Premchai’s camp site found cooking equipment they believe the rotund CEO used to consume the animal. The black leopard, commonly called a black panther in Asia and considered a vulnerable species, was killed by gunfire” (Thaitrakulpanich, Khaosod English, 2018b). Mr Premchai and other suspects still deny the charges against them, which include illegal hunting and possessing firearms in a sanctuary.” A ranger and his coworkers have told police that the powerful construction magnate they arrested on suspicion of poaching a rare black panther tried to bribe them” (Thaitrakulpanich, Khaosod English, 2018c). “The case has sparked a fierce outcry from environmental groups, celebrities and the public in general” (Bangkok Post, 2018). “As people following the case have shown dissatisfaction with the slow pace of the investigation, many have expressed their feelings regarding the case, and the hunting of endangered big cats in general, in many ways.” A campaign calling for the prosecution of a construction tycoon over “his alleged killing of a black leopard and other protected animals has expanded, with people expressing their grief and anger in essays, poems, paintings and, in the latest development, street art” (Chimprabha, The Nation, 2018). It was just about time to address the issue in #ArtOfThePanther comics form…

(Note: sources at the end of this post).

“The first mural apparently was the work of a Facebook user known as ‘Headache Stencil’, who painted a picture of a black leopard’s head accompanied by a symbol of a mute button on a wall on Sukhumvit Road. The symbolism was described as urging the public not to remain silent regarding the case” (Marisa Chimprabha, The Nation).

Lecture 01

2. “From Harvey Kurtzman to André Franquin” guest lecture

On Wedneday February 7, I had the pleasure to be invited to hold a guest lecture for ajarn Oat Montien’s Visual Narrative course at the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University). My topic was the evolution of Comics Art from American cartoonist Harvey Kurtzman (1924-1993), with complete analyses of his classic short comics BIG ‘IF’! (Frontline Combat #5, March 1952) and 3-DIMENSIONS! (art by Wally Wood, MAD #12, June 1954), to Belgian cartoonist André Franquin‘s (1924-1997) creations such as Gaston Lagaffe and the Marsupilami, and Les Idées Noires (Die Laughing, soon in English by Fantagraphics).

The lecture also included an analysis of the comics masterpiece Master Race by (Al Feldstein &) Bernie Krigstein (Impact #1, EC Comics, April 1955), and a presentation of the seminal role of French comics writer René Goscinny (The Adventures of Asterix) and Belgian cartoonist Jijé (figurehead of the Marcinelle School, author of seminal semi-realistic comics series Jerry Spring and mentor of André Franquin, Smurfs‘creator Peyo, or Jean Giraud/Moebius) in the development of humour, realism, and more adult content in Franco-Belgian comics (influenced partly by American cartoonists such as Harvey Kurtzman and Milton Caniff).

Jijé Hem Vejakorn
Both unfairly lacking international recognition, Belgian comics creator Jijé (Joseph Gillain, 1914-1980) and Thai cartoonist Hem Vejakorn (เหม เวชกร, 1904-1969) were probably the most influential comics artists in their respective countries in the 1950s. Is it in the Franco-Belgian or the Thai comics fields, they introduced a seminal and groundbreaking semi-realistic drawing style, adapted the lives of spiritual and historical figures (Jesus/Emmanuel or Baden Powell for Jijé and King Razadarit or Buddha for Hem Vejakorn), influenced and taught the following generation of comics and animation masters (Morris, André Franquin, Will or Jean Giraud/Mœbius for Jijé or Payut Ngaokrachang and others for Hem Vejakorn)… among other similarities. “The Horseman and The Mahout” (or “Khwanchang” in Thailand), another pending project…

Belgian cartoonist Hergé, creator of the Adventures of Tintin, stated: “Franquin is a great artist. Next to him, I’m only a mediocre pen-pusher”. Fantagraphics’ Kim Thompson agreed with Tintin’s creator, writing that “in terms of ultra-classic greatness, Hergé has that abstract line but Franquin has something else. He created the most complete, the most alive, the most absolute cartooniness in comics history” (source: The Comics Journal).

On 31 January 1952, the first appearance of the Marsupilami in the adventure of Spirou et les Héritiers (Spirou and the Heirs) in the weekly Spirou magazine marked a generation of readers. The myth did not need decades to settle permanently (MarsuPro). The original Marsupilami was found from the jungle of Palombia, a fictitious South American country, by adventurous journalists Spirou and Fantasio and their squirrel Spip. The marsupial was taken to Belgium, where he was shortly kept in a zoo (Comic Vine). The Marsupilami will later accompany Spirou and Fantasio in many adventures, before returning to Palombia and have adventures of its own. The Spirou et Fantasio album Le nid des Marsupilamis (1956) is mostly concerned with female reporter Seccotine‘s documentary-within-the-comic about the life of a family of Marsupilamis still living in the wild in Palombia. Marsupilamis have a long, strong, flexible, prehensile tail, used for almost any task. They are able to use their tail as a weapon, by tightening the end into a fist and the remainder of the tail into a spring-like spiral for maximal force (see figure above). Marsupilamis must regularly defend themselves against poacher Bring M. Backalive and his associates…

For those interested, comic books of Spirou and Fantasio (with the Marsupilami) and Marsupilami adventures are available in English from Cinebook.


 3. Presenting 1940s-1970s issues of Spirou magazine

After the lecture, CommDe students had the opportunity to flip through a collection of 1940s-1970s classic and rare issues of the Franco-Belgian Spirou magazine (with Spirou/Marsupilami pages by André Franquin, Jerry Spring pages by Jijé, Johan and Peewit pages by Smurfs creator Peyo, etc.), and issues of the Spirou magazine mythic supplement Le Trombone Illustré. I would like to thank warmly Philippe Capart, owner of the bookstore La Crypte Tonique in Brussels, who helped me to select and acquire the issues of this invaluable collection used for my comics courses in Thailand.

MM01
CommDe students flipping through 1940s-1970s issues of the Spirou magazine (with some Spirou/Marsupilami stories, Jijé’s Jerry Pring pages, and Le Trombone Illustré supplement).

Students were given one week to develop the layouts of their Marsupilami and the Black Panther two-page comics. During the following lesson, ajarn Oat Montien -with the assistance of yours truly- gave comment and advice on the comics layouts (see figures below).

Marsupilami
Work-in-progress page of “Marsupilami and the Black Leopard” tribute comics by Thai student Entryh (FB: Entryh) (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis). Final version near the end of this post.
Marsupilami
Work-in-progress page of “Marsupilami and the Black Leopard” tribute comics by Thai student Entryh (FB: Entryh) (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis). Final version near the end of this post.

4. “Marsupilami and the Black Panther” tribute comics

One week after presenting their layouts, the 8 students of the Visual Narrative courses submitted the final version of their comics! Enjoy!

Marsupilami Darnis 1
“Marsupilami and the Black Leopard” tribute comics by Thai student Darnis (FB: Especialist) (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
Marsupilami Darnis 2bis
“Marsupilami and the Black Leopard” tribute comics by Thai student Darnis (FB: Especialist) (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).

Zam 01
“Marsupilami and the Black Leopard” tribute comics by Thai student Zam (FB: Angus) (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis). Note: the present story confers to the Marsupilami the ability to “force through the dimensional barrier into our world” like Popeye’s Eugene the Jeep, the supernatural animal that André Franquin loved as a kid. See figure above.
Zam 02
“Marsupilami and the Black Leopard” tribute comics by Thai student Zam (FB: Angus) (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis). Note: the present story confers to the Marsupilami the ability to “force through the dimensional barrier into our world” like Popeye’s Eugene the Jeep, the supernatural animal that André Franquin loved as a kid. See figure above.

??
“Marsupilami and the Black Leopard” tribute comics by Korean student Seung Yeon (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
??
“Marsupilami and the Black Leopard” tribute comics by Korean student Seung Yeon (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).

comic
“Marsupilami and the Black Leopard” tribute comics by Thai student Beam (double spread). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis). Note: in the actual events, the rangers didn’t take the bribe.
comic
“Marsupilami and the Black Leopard” tribute comics by Thai student Beam (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
comic
“Marsupilami and the Black Leopard” tribute comics by Thai student Beam (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis). Note: in the actual events, the rangers didn’t take the bribe.
Marsu Pear 01
“Marsupilami and the Black Leopard” tribute comics by Thai student Pear (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
Marsu Pear 02
“Marsupilami and the Black Leopard” tribute comics by Thai student Pear (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
Jao 01
“Marsupilami and the Black Leopard” tribute comics by Thai student Jao (page 1/2). Printed on multiple layers of tracing papers, with appropriation of art by Batem (from “Marsupilami: The Marsupilami’s Tail” and “Marsupilami: Bamboo Baby Blues”, Franquin/Batem/Greg, Cinebook, 2017). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
Jao 02
“Marsupilami and the Black Leopard” tribute comics by Thai student Jao (page 2/2). Printed on multiple layers of tracing papers, with appropriation of art by Batem (from “Marsupilami: The Marsupilami’s Tail” and “Marsupilami: Bamboo Baby Blues”, Franquin/Batem/Greg, Cinebook, 2017). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
PROUD Marsu-01
“Marsupilami and the Black Leopard” tribute comics by Thai student Proud (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
PROUD Marsu-02
“Marsupilami and the Black Leopard” tribute comics by Thai student Proud (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
Marsupilami
“Marsupilami and the Black Leopard” tribute comics by Thai student Entryh (FB: Entryh) (page 1/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).
Marsupilami
“Marsupilami and the Black Leopard” tribute comics by Thai student Entryh (FB: Entryh) (page 2/2). Based on the Marsupilami character created by André Franquin (©Marsu/Dupuis).

Marsu vivisection 3
Original artwork of an angry Marsupilami for a poster of the “Geneva League Against Vivisection”. By André Franquin (1970s).

Sources

Bangkok Post (2018, March 7). Black leopard soup confirmed in poaching case. Bangkok Post.

Buergin, R. (2001). Contested Heritages: Disputes on People, Forests, and a World Heritage Site in Globalizing Thailand, SEFUT Working Paper No. 9, University of Freiburg, p.5.

Chimprabha, M. (2018, March 8). Art breathes life into black leopard campaign – despite repeated attempts at suppression. The Nation.

Eawsakul, T. (2015), Cartoon Thai Tai Laew (catalogue expo, “การ์ตูนไทยตายแล้ว”, “Is Thai Cartoon Dead?”). Bangkok: PUBAT, The Publishers and Booksellers Association of Thailand, n.p.

Seub N., Stewart-Cox, B. (1990). Nomination of the Thung Yai – Huai Kha Khaeng Wildlife Sanctuary to be a U.N.E.S.C.O. World Heritage Site. Bangkok: Royal Forest Department.

Thaitrakulpanich, A. (2018a, Feb 6). Italian-Thai President Charged with Poaching Wild Animals. Khaosod English.

Thaitrakulpanich, A. (2018b, Feb 8). Rangers: Premchai ate the Leopard in a Soup. Khaosod English.

Thaitrakulpanich, A. (2018c, Feb 8). Forest Ranger: Poacher Premchai Offered Bribe. Khaosod English.

The Nation (2018, Feb 7). Hunting arrests recall events leading to 1973 uprising crisis. The Nation.

 

#LetMeSeeYourEyes text substitution constrained comics exercise

 #LetMeSeeYourEyes; substituting the dialogue of a comics/manga page with imposed lines excerpted from Norwegian cartoonist Jason‘s Why Are You Doing This? (Fantagraphics, 2005; Editions Carabas, 2004, for original French version).

BLURB!

“Great idea for an exercise (the source is impeccable, of course!). The examples work really well, and the Peanuts page shows how this principle can be expanded on and could even be used for a book-length work made up of quotes, borrowed page layouts, mash-ups, etc.” Matt Madden (February 17, 2018), cartoonist and teacher best known for his book 99 Ways to Tell a Story: Exercises in Style (Penguin), as well as a member of Oubapo (Workshop for Potential Comics), and later a French knight in the Order of Arts and Letters.

January 2018. The sixty-two (3rd and 4th year) students in the Creative Writing for Printed Matter course (sections 10 and 11; “Graphic Writing”) at the International Program (BA) in Communication Management (Faculty of Communication Arts, Chulalongkorn University, Bangkok , Thailand) were provided with a series of imposed lines excerpted from Jason’s comics Why Are You Doing This?: “So… Did you do it? / Sorry? / Was it you who killed that man earlier today? / No. No, it wasn’t. / Let me see your eyes. / All right. Follow me.” After being shown an example (Tintin in Tibet; see below) and as a home assignment, students were given one week to find a comics/manga page in which the dialogue might fit -with the least possible alteration- by substitution.

“The function of relay is less common (at least as far as the fixed image is concerned); it can be seen particularly in cartoons and comic strips. Here text (most often a snatch of dialogue) and image stand in a complementary relationship; the words, in the same way as the images, are fragments of a more general syntagm [sequence of linguistic units] and the unity of the message is realized at a higher level, that of the story, the anecdote, the diegesis […].” Roland Barthes, Rhetoric of the Image (translation S. Heath), in: Image, Music, Text, 1977.

Goals of this warm-up exercise; production of new comics pages by students without any particular artistic training; browsing of dozens of comics pages, and development of the  “image reading” skill by focusing students’ attention on visual motifs in pictures and sequences; development of multimodal literacy through the combination/confrontation of visual (drawings), aural (speech, tone), linguistic (delivery of both “written and spoken” text), gestural (facial expressions/body language/postures) and spatial (spatialisation of text & sequences of adjacent panels) modes; exploration of text/image relationship (anchorage/relay); to stress out the importance of eye contact in drama.

Inspired by a constrained comics page from American cartoonist Matt Madden‘s 99 Ways to Tell a Story: Exercises in Style (2005). And from Will Eisner‘s illustration of “facial postures with a parallel set of statements” (in Comics and Sequential Art). See below.

99 ways template and different image
Left: original template. Right: text from original template, but different images. From Matt Madden’s 99 Ways to Tell a Story: Exercises in Style (2005)”.
EISNER facial expressions
“Expressive anatomy” in Will Eisner’s Comics and Sequential Art, page 110. Poorhouse Press, 1985. ©1985 Will Eisner.

 “[Comics] doesn’t blend the visual and the verbal – or use one simply to illustrate the other – but is rather prone to present the two non-synchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning.” Hillary Chute, “Comics as Literature? Reading Graphic Narrative”, in: PMLA, 123(2), 2008


WAYDT original
Page from Jason’s comics Why Are You Doing This? (Fantagraphics, 2005). Imposed lines for the exercise were excerpted from panels 6 to 12.
tibet subst original
Example provided to the students: original (half-) page of Tintin in Tibet by Hergé; before text substitution.
tibet subst Jason
Example provided to the students: (half-) page of Tintin in Tibet by Hergé after text substitution (by yours truly) of the imposed lines excerpted from Jason’s Why Are You Doing This?.

Commenting on  Gunther Kress’s Multimodality, Jacobs notes that linguistic, visual, audio, gestural, and spatial elements combine in comics narratives and that, “[taken] together, these elements form a multimodal system of meaning making.” (“More than Words: Comics as a Means of Teaching Multiple Literacies”, in: The English Journal, 96(3), 2007.


1. Text substitutions by CommArts students; without any order/speech balloon alteration (except for an additional ellipsis, or “…”, in a couple of pages)

00 SHERLOCK subst
Text substitution by CommArts student Mint (Sirivadee) in a page from the manga adaptation (Titan Comics) by mangaka Jay of the TV series Sherlock.
Sherlock Original
Original page (before text substitution).
00 POKEMON subst
Text substitution by CommArts student Golf (Sorasak) in a page from the manga Pokémon Adventures v.34 (VIZ Media) by mangaka Hidenori Kusaka (script) and Satoshi Yamamoto (art).
POKEMON Original
Original page (before text substitution).
00 ZITS subst
Text substitution by CommArts student Ben in a Zits comic strip by Jerry Scott and Jim Borgman.
ZITS original
Original page (before text substitution).
00 CONAN subst
Text substitution by CommArts student Prim in a page from the manga Case Closed (or Detective Conan; VIZ Media) by mangaka Gosho Aoyama.
CONAN original
Original page (before text substitution).
00 DISNEY subst
Text substitution by CommArts student Erin in a page from the Disney fan comic, or doujinshi, Disney High School (featuring Rapunzel and Quasimodo as siblings) by Morloth88.
MODEL DISNEY
Original page.
00 UZUMAKI
Text substitution by CommArts student WIN in a page from the manga Uzumaki (VIZ Media) by mangaka Junji Ito.
UZUMAKI original
Original page (before text substitution).
00 ONE PIECE subst
Text substitution by CommArts (Taiwanese exchange) student Edd in a page from the manga One Piece (VIZ Media) by mangaka Eiichiro Oda.
One piece original
Scanlated page (before text substitution).
00 SIMPSON Subst
Text substitution by CommArts student Plawan in a page from the comics series Bart Simpson’s Treehouse of Horror (Bongo Comics).
Simpson Original
Original page (before text substitution).
00 Batman bernet
Text substitution by CommArts student Yaiyaa (Creative Writing, 2016) in a page from the comics Batman: Blackout (“1940’s Catwoman”, DC Comics, 2000) by Howard Chaykin (script) and Jordi Bernet (pencils).
Original Batman bernet
Original page (before text substitution).
00 Cyanide.jpg
Text substitution by CommArts student Mark in a strip from the webcomic Cyanide and Happiness (written and illustrated by Rob Den Bleyker, Kris Wilson, Dave McElfatrick and formerly Matt Melvin).
MODEL Cyanide
Original strip (before text substitution).

2. Text substitutions by CommArts students; respecting the order of the imposed lines but not their strict succession (distribution of the imposed lines before and after text  retained from the original comics page). 

00 SNOOPY Subst
Text substitution by CommArts student Por in a Peanuts comic strip by Charles M. Schulz. Retaining the two original speech ballons “Right” in panels 9 and 10.
Snoopy Original
Original page (before text substitution).
00 BONBONZAKA KOUKOU
Text substitution by CommArts student Sean in a page from the manga Bonbonzaka Koukou Engekibu (1992) by mangaka Takahashi Yutaka. Retaining the two original speech ballons “Damn” and “Da…” in panel 3.
MODEL BONBONZAKA KOUKOU
Original scanlation (before text substitution).
00 Mickey
Text substitution by a CommArts student (Graphic Writing, 2015) in a page from Mickey Mouse and the World to Come: The Sinking of Illusitania (Boom! Kids, 2010) by Andrea Castellan (aka Casty). Retaining various two original speech balloons.
Mickey Original
Original page (before text substitution).
00 Wotaku ni Koi ha Muzukashii subst
Text substitution by CommArts student Nymph in a page from the manga Wotaku ni Koi ha Muzukashii (It’s Difficult to Love an Otaku) by mangaka Fujita. Retaining various speech ballons, and adding an ellipsis (“…”).
Wotaku ni Koi ha Muzukashii original
Original scanlation (before text substitution).
00 CEREAL
Text substitution by CommArts student Pat in a page from the webcomic Saturday Morning Breakfast Cereal by Zach WeinersmithRetaining various speech ballons.
Original Cereal copy
Original strip (before text substitution).
Was it you, comics
Text substitution by CommArts student Boss in a page from the comics Immortal Iron First issue 16 (Marvel Comics) by Matt Fraction (writer) and David Aja (penciller). Retaining the original speech ballon “Noooooo” in panel 4.
Was it you, comics
Original page (before text substitution).
00 KINDAICHI subst 2
Text substitution by CommArts student Poon K. in a page from the manga The Kindaichi Case Files (Tokyopop) by mangaka Yōzaburō Kanari and Seimaru Amagi (writers) and Fumiya Satō (art). Retaining the original speech ballon “I’m amazed by your work” in panel 4.
KINDAICHI original
Original page (before text substitution).
00 Grumpy Cat
Text substitution by CommArts student Tip in a page from GRUMPY CAT AND POKEY (Dynamite; writers Ben Fisher, Derek Fridolfs, Ilias Kyriazi; and artists Ken Haeser, Ilias Kyriazis, Steve Uy). Retaining various speech balloons, and with additional ellipsis (“…”).
Original Grumpy Cat
Original page (before text substitution).
00 Superman
Text substitution by CommArts student Mos (Creative Writing, 2016) in a page from Superman #14 (The Invention Thief, DC Comics, 1942), by Jerry Siegel & Joe Shuster, and Leo Nowak. Retaining various original speech balloons.
Original Superman
Original page (before text substitution).
00 NARUTO subst
Text substitution by CommArts student Mon in a page from the manga Naruto (VIE Media) by mangaka Masashi Kishimoto. Retaining the original sound effect “SHWUUU” in panel 5.
NARUTO Original
Original scanlation (before text substitution).
00 TinTin and Alph-Art
Text substitution by CommArts student Mo (Creative Writing, 2016) in a page from Tintin and Alph-Art, inked and colorized by Yves Rodier based on (unfinished) pencilled page by Hergé. Retaining the original speech balloon (“?”) in panel 6.
Original TinTin -24- TinTin and Alph-Art - 01
Original scanlation (before text substitution).
00 QUEST subst
Text substitution by CommArts student TG in a page from Edmund Finney’s Quest to Find the Meaning of Life – Volume 2 (EQ Comics) by Dan Long. Retaining various original speech balloons.
Original Quest
Original strip (before text substitution).

 

3. Text substitutions by CommArts students; without order alteration, but with additional bubbles.

 

00 cat vs human
Text substitution by CommArts student Note in a page from Cat versus Human by Surovec Yasmine. Retaining various original speech balloons, and with additional bubbles.
Original cat vs human
Original page (before text substitution).
00 SAPHIE
Text substitution by CommArts student Pitchii in a page from the webcomics Saphie the One Eyed Cat by Joho. Retaining various onomatopoeiae, and with additional bubbles.
MODEL SAPHIE
Click on the page to reach the original webcomics.

 

#BiggerQuestions constrained comics exercise; weaving scattered wordless panels into a graphic narrative.

#BiggerQuestions: in-class creative assignment (Intro Comm course developed by the Faculty of Communication Arts; Interpersonal Communication chapter); weaving 7 scattered wordless panels (taken from Anders Nilsen‘s Big Questions) into a 2-page graphic narrative.

BLURB!

“Great exercise!” Matt Madden (February 9, 2018), cartoonist and teacher best known for his book 99 Ways to Tell a Story: Exercises in Style (Penguin), as well as a member of OuBaPo (Workshop for Potential Comics), and later a French knight in the Order of Arts and Letters.

“More good stuff from [Bangkok], thanks for sharing!” Nick Sousanis (February 9, 2018), assistant professor of Humanities & Liberal Studies at San Francisco State University. He received his doctorate in education at Teachers College, Columbia University in 2014, where he wrote and drew his dissertation entirely in comic book form. Titled Unflattening, it argues for the importance of visual thinking in teaching and learning, and was published by Harvard University Press in 2015.

January 2018. Fifty (1st year) Thai students at the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University) received 2 pages displaying 7 scattered panels (with erased text) taken from various pages of the graphic novel Big Questions by American cartoonist Anders Nilsen. Within 90 minutes, they had to produce additional panels (if necessary) -and add dialogues- in order to bridge the imposed panels and weave a cohesive and convincing graphic narrative. Following brief comments provided on their comprehensive layouts, students finalized the artwork at home. See below for 20+ of their #BiggerQuestions constrained comics.

Inspired by on a constrained comics exercise used at Pierre Feuille Ciseaux international comics residency-lab.

BQ 01 02 ref
Pages from Anders Nilsen‘s Big Questions (Drawn & Quarterly, 2011).
BQ 01 02
The 2 imposed pages -with scattered panels and blanked-out dialogues- taken from Anders Nilsen‘s Big Questions (Drawn & Quarterly, 2011).

20180108_233504[1]
CommDe student bridging the gaps between Anders Nilsen‘s panels.


Click on the 2-pagers below for larger size.

01 PLYE
“Bigger Questions” constrained comics by (1st year) CommDe student PLYE
YOSHIYUKI 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student YOSHIYUKI
BYRD 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student BYRD
02 PT
“Bigger Questions” constrained comics by (1st year) CommDe student PT
SASINAN 01 02 def
“Bigger Questions” constrained comics by (1st year) CommDe student SASINAN (PING)
CHICHI 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student CHICHI
OOM 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student OOM
AOM P 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student AOM (P.)
TAT 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student TAT
PHURICH 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student PHURICH
SHARON 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student SHARON
BASK 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student BASK
EVE 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student EVE
NENE 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student NENE
AOM T 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student AOM (T.)
FAHSAI 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student FAHSAI
LUKPEAR 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student LUKPEAR
SUNNY 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student SUNNY
PLOY 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student PLOY
MIM 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student MIM
KARIN 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student KARIN
MICK 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student MICK
PEACHY 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student PEACHY
KRIS 01 02
“Bigger Questions” constrained comics by (1st year) CommDe student KRIS

Not Final Art (but Art nonetheless) – 2

Eisner - A Contract with God
A Contract with God” (1978) by Will Eisner. USA. Original artwork.
Llloyd - The Horrorist 2
The Horrorist” (DC Comics, 1995-1996). Art by David Lloyd and script by Jamie Delano. UK (for American publisher) Original artwork.
Copyright ©2005 DC Comics
Otomo - Akira 2
Akira” (1982-1990) by Katsuhiro Otomo. Japan. Original artwork.
Harkham - Poor Sailor 2
Poor Sailor” (2003) by Sammy Harkham. USA. Original artwork.
Mazzucchelli - DD Born Again 230-14-18
Daredevil: Born Again” (Marvel Comics, 1986). Art by David Mazzucchelli and script by Frank Miller. USA. Original artwork.
Copyright ©1986 Marvel Comics
Ware - Building Stories
Building Stories” (2012) by Chris Ware. USA. Original artwork. LARGER SIZE OVER HERE.

Not Final Art (but Art nonetheless) – 1

Tezuka - Astro Boy
Astro Boy” (1952-1968) by Osamu Tezuka. Japan. Original artwork.
Copyright © Tezuka Productions
Jakitou-25576
Jakitou” (1935) by Alain Saint-Ogan. France. Original artwork.
King Frank - Gasoline Alley
Gasoline Alley” (25th of August 1925) by Frank King. USA. Original artwork. LARGER SIZE OVER HERE.
Nilsen - Big Questions 2
Big Questions” (Drawn & Quarterly, 1999-2011) by Anders Nilsen. USA (for Canadian publisher). Original artwork.
Copyright © Anders Nilsen/Drawn & Quarterly
Otomo - Akira 1
Akira” (1982-1990) by Katsuhiro Otomo. Japan. Original artwork.
Jason - Hey wait...
Hey Wait…” (“Mjau Mjau” back cover, 1999) by Jason. Norway. Original artwork.
Copyright ©1999 Jason

 

Classic Franco-Belgian Comics (II)

Some Franco-Belgian classic comics acquired at La Crypte Tonique (Brussels) to illustrate -materially- the two courses dedicated to the History of Franco-Belgian “bandes dessinées” at Chulalongkorn University, Bangkok. PS: Merci Philippe Capart!

Moustique 001
Cover of “Moustique” weekly magazine #1481 (Dupuis, BE, June 13, 1954).
Moustique 002
Page from “Blanc Casque'” by Jijé (BE, goo.gl/P3l4wh) as published in “Moustique” weekly magazine #1481 (Dupuis, BE, June 13, 1954). Based on the novel by Joseph Pirot.
Moustique 003
Page from “Lucky Luke et Phil Defer ‘Le Faucheux'” by Morris (BE) as published in “Moustique” weekly magazine #1481 (Dupuis, BE, June 13, 1954). Comics available in English language: goo.gl/o186fV
Moustique 004
Last tier of a page from “Lucky Luke et Phil Defer ‘Le Faucheux'” by Morris (BE) as published in “Moustique” weekly magazine #1481 (Dupuis, BE, June 13, 1954). Comics available in English language: goo.gl/o186fV
Phil Wire
Cover of the English edition of “Lucky Luke contre Phil Defer” (Morris, BE): goo.gl/o186fV
Moustique 005
“Spirou” (goo.gl/wf4C73) voucher (to be collected every week in order to be redeemed for a board game) as published in “Moustique” weekly magazine #1481 (Dupuis, BE, June 13, 1954).

Classic Franco-Belgian Comics (I)

Some Franco-Belgian classic comics acquired at La Crypte Tonique (Brussels) to illustrate -materially- the two courses dedicated to the History of Franco-Belgian “bandes dessinées” at Chulalongkorn University, Bangkok. PS: Merci Philippe Capart!

Alain 001
Front cover of “Cadet-revue”, May 15, 1939, France. “Saint Francis of Assisi – Animals, my brothers”; one of my favourite illustrations by French cartoonist and illustrator Alain Saint-Ogan (goo.gl/dKom7j).
Alain 002
Back cover of “Cadet-revue”, May 15, 1939, France. One of my favourite pages by French cartoonist and illustrator Alain Saint-Ogan (goo.gl/dKom7j): “Monsieur Poche: un animal étrange.” First printed in “Dimanche illustré” #623, February 3, 1935, France.
Monsieur poche
Original artwork of the page “Monsieur Poche: un animal étrange” first published in “Dimanche illustré” #623, February 3, 1935, France. Analysis by Thierry Groensteen: goo.gl/kamg93. In the collection of the Museum of the Cité Internationale de la Bande Dessinée et de l’Image, Angoulême, France.