We'll take a break from politics in order to turn to another obsession of mine: comic books. It's no secret that I like comics, and that I have strong opinions about what makes a good comic. So, as a writer, I've decided to discuss comics writing that I think is of exceptionally good quality, and fully embraces the strengths of the medium to tell compelling, gripping stories. First on that list is the outstanding Vertigo crime title
Scalped, created by writer
Jason Aaron and artist
R.M. Guera.
I don't want to give away too much, because I think you should go and buy it, but
Scalped takes place on an Indian Reservation in South Dakota plagued by unemployment and crime, and centers on a cast of characters led by Dashiell Bad Horse, son of a former radical who has returned to the rez after years away. Dash, who has some issues with anger and his mother, has taken a job with the Tribal Police at the behest of corrupt tribal chief Lincoln Red Crow. Chief Red Crow, meanwhile, has brought a casino to the rez in order to try and provide a better life for his people, but has gotten into bed with some nasty characters to make it happen.
Aaron and Guera have done a remarkable job bringing these characters, along with smaller supporting roles, to unique life; the dialogue rings true, the situations are compelling and dire, and the artwork provides firm ground for each character's desperation and regrets. The whole thing comes across as intensely cinematic - or, tv-matic, if you will - it would make a great HBO series. That said, don't wait for HBO - go out and buy the collected editions at your
local comic shop. Really.
In the last issue to hit the shelves, #24, I came across a six panel sequence that, in my opinion, is one of the best uses of time I have
ever seen in a comic. Time in comics is a funny thing, because, as
Mark Waid puts it,
"a comic story is made up of frozen moments. Screen stills. Snapshots." So how do you control time in a comic? The answer, at least in part, is through the use of space. The artist can break up a moment - say, someone reaching for a gun - into a bunch of panels, or just represent that action in a single panel. There are a lot of options for pacing, but ultimately, much of that control is ceded to the reader and his or her interpretation of what's on the page. So how does this apply the sequence I was referring to in
Scalped #24? See below (click image for larger):
In these two pages, Chief Red Crow walks into a bar interrupting some bad guys doing some bad things on his reservation, and gets into a gunfight. I've labeled the panels A-F - now let's break down what's happening, and why I think this sequence is noteworthy:
Panel A - Take a look behind the short guy in the apron - laying on the bar is Dino Poor Bear.
Panel B - A clearer shot of Dino behind the bad guys, one of whom is telling Red Crow to put down his gun.
Panel C - This is where it gets really interesting. Left to right, three things are happening in a fraction of a second - the thuggish bad guy gets shot in the head; Dino starts to pick himself off the bar, and the short guy (Brass) reacts.
Panel D - The thug hasn't quite dropped to the ground yet; Dino is making his way off the bar; Brass dives for cover; and the other thug opens fire on Chief Red Crow.
Panel E - Chief Red Crow returns fire.
Panel F - Dino makes it off the bar and scrambles for cover, while the dead thug finally starts falling backwards.
What makes this sequence special, and unique to comics, is that it's happening quickly and in slow motion simultaneously - the beginning of the shootout is represented as if in the blink of an eye, but Dino, terribly wounded, seems to be moving in slow motion. It's virtuoso piece of comics writing, perfectly served by the art. So now that you're as impressed as I am, go out and buy
Scalped - you'll be glad you did.
-EB
p.s. Long-time comics writer and editor Mark Waid is doing a weekly column on comics writing at John Rogers' Kung Fu Monkey blog, which you can find
here. I highly recommend it.
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