Create Your Own Manga?

On September 15th, ComiPo! launched their design your own Manga computer program.

While watching the video, I was generally impressed with the wide amount of available faces, poses and facial expressions given. It would take an impressive amount of time to memorize the varieties used in a large combination for multiple uses. Having only used the downloaded demo version, it seems rather easy to use, and play around with, even though some of the modifications seem a little tricky to handle. However, despite the ease of access, I have a few criticisms that I hope will be addressed in future versions:

1. All the characters seem to be cut from the same body type. What if we want to create somebody with more outlandish dimensions? Say, somebody morbidly obese, tall and lanky, or unsymmetrical body parts? There's not even a Chibified version of the cast. Not everybody's going to be the same dimensions as a high-school teenager with stock poses. I'd prefer more character variety myself.

In addition, the supplementary parts, such as ribbons, glasses and other accessories don't seem to be modifiable. If we want to change their location, make them appear more disheveled, broken or burnt, we're not going to be able to do so. There doesn't seem to be any way to create an open mouth effect that's not just a hole pasted on the side.













2. A lot of the designs seem to need a lot of shrinkage before putting them to use. Chances are that users won't be able to help themselves in using as much space as the program wants them to, which'll amount to a larege amount of visual close-ups. Preparing a script beforehand would need to be an absolute necessarity in order to prevent falling into short visual shortcuts while dealing with large images.

Also, trying to get close ups of certain body parts, such as hands or feet is difficult without forcing the character's dimensions off the panel so only the relevant parts are showing. Even trickier if we want these limbs posed in a certain way, so they'll appear more natural. Likewise, it's difficult to find natural body positions of the characters casually touching another person without appearing awkward. While this might be natural in a country with limited social contact, it plays havoc if we want a rough 'n tumble scenario of two friends in a friendly argument. What about the effect of looking around quickly? Is it possible to show another head without superimposing a body on top of it?














3. Is there a way to change the fonts multiple times within a balloon? Having a balloon with just one consistent font can get boring without a way to emphasize certain key words. The only way to have a sentence end in a DRAMATIC! manner would be to input text from an invisible balloon inserted between the relevant passages. Not to mention having to divide the sentences into multiple paragraphs so they'd fit into the balloon. Breaking up the dialogue is an even stronger argument for having a strip handy.

There doesn't seem to be a default program for linking multiple balloons together. Maybe people would prefer to have their dialogue broken up into various balloons across the page, but I get upset when I don't see a certain option made available. I want as many tools in my belt as possible. Another thing that bugs me is that the space between lines above and below is too far apart, which winds up wasting more valuable space. It would be nice to have some control over the text. Part of it may be a holdover from the Japanese spacing system. What works in one country may not work in another. The vertical text button arranges everything one letter at a time. Unless it's angled properly, who's going to be able to read that??


































In addition, using the "thought bubble" tail option creates a ridiculous amount of balloons in the way, with no manner of reducing or curving their numbers. Since I can't save any of my demo files, the below should give you a good idea of what that option provides. No wonder so many Manga balloons have tiny tails if this kind of thing happens.






















4. Can you have default page layouts with more than 6 panels? I've found that I can have more panels even in the 4-koma comic setting by just copying a single blank panel, then pasting it in an unused location.

This is the biggest issue I have with the program. I don't want to be restricted to just a few panels on a page. I want to have multiple panels to show the maximum amount of things happening on a single page. Alternately, those Shojo pages with collages and practically no panel divisions may be harder to create without any specific boundaries in place.

In addition, there doesn't seem to be a way to make panels more angular. Having angular panels is a practical necessity for staring scenes, and interesting layouts. Also, the borders all look the same, so there's a threat of repetism there. While you can modify the thickness of the border, you can't give them jagged edges, or curved borders at the ends (with black backgrounds) are visual shorthands for flashback scenes. I've found that you can rotate the panels themselves, though that's not quite the same thing.























In short, it's not quite the dream project as some people have made it out to be. So far, it seems like an easy shortcut program to use characters in stock poses. What if we wanted to create an unique character design reminiscent of Don Martin or Jack Davis? What about animals, real and imagined? For the most part, it seems designed to help people try to put their visions down without having to go to the trouble of drawing elaborate designs.
People with higher ambitions would be advised to look elsewhere, or alternately, learn how to draw themselves.

The program seems more designed for slice-of-life stories rather than action-packed tournament battles with outlandish cartoony violence. Until they design something with looser human body positions and a wider range of expressions, I'll be holding my reservations in check. Maybe one of the future updates will fix some of the problems I've mentioned, but I won't be holding my breath.

P for Pika

Prelude

(The setting is a dystopian dictatorship with lousy lighting. Utop a few tall buildings flicker a TV screen with a warbling voice upon a distorted screen)

TV: And now, some words of wisdom from our all-seeing all knowing Leader.
(Monitors show a masked man with a large eye)
Leader: Fellow citizens! I see before me, the greatest nation on Earth! Remember, speaking ill of our system only invites reprisal from our enemies. (Puts finger to face) So shhhhhhhh.

(During the announcement, a woman in a trenchcoat approaches a solitary man with a determined look on her face)

Woman: Pssst... Wanna buy some comic porn?
Man: Do I really look that desperate?
Woman: No, but everybody’s got their fetish and I need the money.
Man: What do you got?
Woman: The usual - straight stuff, lesbianism, some loli, shota, and Yaoi.
Man: (Man reaches into coat pocket)
Woman: I’ve also got hardcore stuff. There’s dickgirl stuff if you’re a closet homo. I’ve also got bondage stuff and snuff stuff...
(Man casually holds up badge)
Woman: ...and rape stuff, and I’m under arrest aren’t I?
Man: Selling pictures of minors is a Capital Offence. However, doing unspeakable things to minors is still legal. (Puts hands on woman’s arms)
Woman: Let me go. I’ll scream.
Man: Go ahead. Who’s gonna listen? (Crowd of passerbys turn their heads)

(Mysterious Man with large hat & cape taps plainclothes policeman on the shoulder) Excuse me, is that girl bothering you?
Man: Not now. You’ll get your turn when I’m finished - Leader! What are you doing here? Weren’t you just addressing the nation?
(Mysterious Man puts hand on masked face) I wasn’t. (Presses mask to policeman’s face) And I’m not.
(Policeman stumbles about, struggling with one-eyed mask glued to his face)
Man: What is this?? Get it off!
Mysterious Man: Look, fellow citizens! It’s your beloved leader among you!
(Passerbys start paying attention) What?? The Leader? Where???
Man: No, I’m not -
It’s really him!
I want a piece of his clothing!
Back off! He’s mine!
This is for raising taxes again!
Let me have your babies!
(Mob descends on policeman)

(Atop a nearby building)
Woman: You saved me. (Looks in awe) Who are you?
Mysterious Man: I do not have a name. (Turns to show his smiling face) You can call me “P”.

Preview

From bestselling author Moore Urasawa.*

(Detective Flinch addresses the Leader with the news of the assault)
Flinch: The attack on the policeman left him in critical condition. From the amount of damage given, 60% of your citizens love you, 30% disagree with your tax rates, 5% want your clothes for souvenirs, 4% want to eat your flesh and 1% want your babies.
Leader: Any word on the assailant?
Flinch: Only that he’s a lunatic in a yellow mask.

From the writer of Slashmen,

(P leads Slothero down a hall of doors)
P: Do you remember this? Room I... Room II...
Slothero: No... not this again...

A tale of rebellion

(Outside a residential house)
Sharper: ‘Allow Bob, we’s bin herring ‘bout yer finanshal transackshons.
Cordon: What? I can’t understand a word you’re saying.
Sharper: Thot’s oshaeme. D’yeh nae longar truss mae nae longar?
Cordon: Speak slower. You’ve got an incomprehensible accent.
Sharper: Nottin’ doing eh? Fairenov. I’s’ll jest set mae beck tae deh daer.
Cordon: Did you say door? Do you want me to open it?
(Stabs sword into Cordon through the door)
Sharper: Toodle-loo, pip pip, an’ Bob’s your uncle.
Cordon: Now that I understood... (slumps)

One man against the system

P: Room 50, Room 71...
(L is hanging upside down)
P: Sorry, I meant Fifty-one...
Slothero: Please stop... no more... mercy...

With Truth, Justice,

Flinch: Did you get a good look at your assailant?
Victim: I have no idea. It all happened so quickly, I didn't even realize I'd been knocked down until I noticed the wall I was leaning against was actually the floor.
Flinch: So, it's safe to say you didn't get a chance to see his face?
Victim: Oh, I saw it, alright. I was wondering how he was running on the wall, until I noticed how much trouble I had getting my gun out of my holster.
Flinch: What about your other men?
Victim: He just touched them once, and they all fell like a ton of bricks. That demonic face will haunt me for the rest of my days.
Flinch: Was it a yellow mask with a silly smile?
Victim: I've never seen anybody move so fast. He moved like greased lightning.

And Anarchy for all

P: Room Ninety-Eight... room Ninety-Nine.

Slothero: Room 99? But that means... you’re the man in...
(Slothero collapses on the floor in a puddle of sweat, his face red from exertion)
(P stabs Slothero with the edge of his stick)
P: Well, drat.

P for Pika

(Inside a dark interrogation chamber)
Interrogator: It’ll do you no good to keep resisting us. Now, can you tell us where Codename “P” is?
Woman: That’s easy. He’s the guard behind me, wearing a rubber mask.
Interrogator: Showing resistance, are we?
Woman: You’re a tape recording aren’t you? You can’t change tracks immediately if I say something not according to the script. I’ll bet there’s nothing but silence until the next speaking threat.
Interrogator: ...
Woman: It seemed a little too convient that someone would capture me just as I was planning to kill someone. The government isn’t that efficient. And furthermore -
(P knocks her out)
P: I’ve simply got to find myself a more gullible woman.

Coming this Summer.

(Detective Flinch puffs pipe, holding a file)
Flinch: It’s a Pikachu, Leader.
(Leader looks on, with a curved finger on his mouth, looking pensive)

*Loosely based on the movie by the Wachowski brothers.

Comic Pet Peeves

While there's plenty of things about comics I like (ease of access, readability, images on the page), there's a few idiosyncrasies about the form that can drive me nuts. These mistakes are preventable if they're noticed beforehand, yet they keep getting made. Here then, are a few things that can almost ruin my reading experience:

1. The line that's not a border

Scott Mccloud described the space between panels as the "gutter", even though the terminology's never quite caught on. However, there are instances where because of the over-reliance of the ruler for creating borders, some panels can accidentally create a "gutter" effect in the middle of a panel. You're reading along, following the story naturally, when all of a sudden you see a line smack dab in the middle of the story, and you think that it's a thin panel, when it's actually a wall or door placed perpendicular to the character.










The placement of these double lines symbolizing the edge of a wall or door can create the effect of the end of the panel, when it's actually the middle of a panel. Here's a little quiz - how many panels do you see in this AxeCop comic?





















Upon first sight, chances are you saw 12 panels. Take another look and count again. Pay special attention to the middle panel. What makes this even more erroneous is that the placement of the panel divisions above and below are practically parallel to each other, creating the illusion of a border division where there's none.

On rare occasions, there can be vertical borders that give the illusion of seeing half a panel, when it's actually one panel. This page from Sergeant Frog where Tama fired off an energy beam from his mouth could almost be mistaken for two different panels if we weren't already aware of his ability. Only the sound effect overlapping the beam gives us any clue, but even that's not a guarantee, since Manga onomatopoeia have a tendency to cross time & space on the page.


































Normally, the placement of a body or balloon on the wall can help prevent the optical illusion of another panel. But you need to be careful about where you put them, otherwise, you could unintentionally run the risk of "cutting the head off". Such as seen from this Sam & Fuzzy fancomic.













The below example is intentional though, forcing you to reread it again. Even with this foreknowledge, it's still easy to get caught up into this trap.






















EDIT - just a month after this was posted, another cartoonist showed several tricks to avoid this, along with several other easy artistic mistakes that I missed.

2. A double-page spread that looks like two separate pages


































This is a major complaint I have with American comics. After dealing with multiple pages where the dialogue and action were faithfully regulated to one page, suddenly without warning, we're given an impressive splash page with multiple panels. Only problem is, the first half of the page gives no visual clues that what's happening on the other side is relevant to the first one.


















As a result, you won't notice that you're missing out on anything until you're already 2/3rds of the way through. At which point, you realize that you've been reading the page the wrong way, and have to go all the way back to the beginning and start all over again, so it'll make more sense. What really gnaws at your core is that you didn't realize that you were missing anything in the first place. It's never a good thing when a work makes you feel dumb for not noticing the so-called "obvious" clues.


































In this instance, when looking for the closest "green", you're more likely to look below, rather than across the page, because you're likely to be distracted by John Constantine's orange trenchcoat.


















Further compounding this problem is when the spread has panels in the middle that don't line up with each other. If the pages aren't perfectly aligned, they'll look even more out of sync, and further create the illusion of a second page.


































While there are detractors who claim that having a comic in pamphlet form is the best way to counter against this mistake, since opening it on the table so the images can be seen in their full glory, and also prevent the font from getting swallowed up within the interior spine, it's not the way most people read comics. Readers are more likely to grasp the pages with both hands, or (blasphemously) fold the pages back, so they can concentrate on one page at a time.

Lately, the influence of Manga has helped avoid this problem by having one long uninterrupted image along the pages that makes for easy transition, instead of being broken up into choppy pieces. Even if there's a descriptive caption on the other side, not much information will be lost. Some scanlations unwittingly have a double-page spread broken up, which won't be obvious to anyone with an eye for detail, or if they're seen in dead tree form. But that's a debate for another time.

Here's a dramatic page as it originally appears...


































And how it should look.

Red Ketchup Vs. Penguins

In my last entry of Red Ketchup, an anonymous commentor asked for more! Who am I to deny the wishes of my small fanbase? One thing to keep in mind is that most of this was done in the 80's around the time of the cold war, so any historical inaccuracies should be overlooked. Most of what happens is very tongue-in-cheek, though also very un-Politically Correct.

In order to speed things up, let's skip ahead to the second album, which is a full-length story, and really showcases the kind of insanity Red Ketchup is capable of. However, I should make a small warning. There's a certain amount of violence and nudity that may be disturbing to some audiences. I've done some tasteful censorship of certain words and images, though readers of cute stuff may be put off by what happens here.

You have been warned.












With that public announcement out of the way, let's get on with the latest story. Red Ketchup's latest mission takes him to the far reaches of the South Pole where he's spying a robotic penguin taking photos of a camp. From there, he relentlessly follows the robot penguin so he can destroy the evidence before it reaches the Russian base.











The reason he's been assigned to the furthest depths of the end of the world is because he's being punished for using "unnecessary roughness" in his past missions. The chief figures that Red Ketchup can't possibly get himself into any trouble this far south of the border, and won't hear from him for a long time.



















Something that should be pointed out is that Red Ketchup is only dressed in his trademark blue suit and tie. He's not wearing a parka, snowshoes or any kind of winter gear that would be required for this kind of weather. Hell, he's not even wearing boots.


































All of this is just a minor inconvenience to him. As long as he's got his personal medicine cabinet with him, he's happy. As he continues his fruitless pursuit of a solitary robot wandering the vast wasteland of the Arctic North, against all odds, he finds the droid he's looking for. Unfortunately, the camouflage works extraordinary well in this favor.


































Since Red Ketchup can't tell one penguin apart from another, he decides to play it safe and shoot ALL of them. After firing the first few rounds, he moves around constantly so they can't counter-attack his current position. While the penguins are in a state of confusion, he adds to the chaos by using napalm grenades and then gunning down the straggling survivors.











Meanwhile, the robot penguin walks by unnoticed.

















At the Russian base, a female agent, Olga Dynamo, inspects the latest elite soldiers to arrive from her home country. She's been assigned to train her these men to become Camarade Ultra, the Russian equivalence of an Übermensch, or Superman. The last batch of soldiers weren't strong enough to meet her expectations, and she hopes the latest batch will be adequate enough to the task. Her first command is that all her new men strip down and do three laps around the base. The courier protests, since it's minus 50 degrees, at which point Olga calmly reveals herself to be a proud member of the Polar Bear club.






















What I particularly like apart from the gender-equivalent nudity is that we've been introduced to a potentially strong female character, and rather than tease us with the thought of what she'd look like naked, they go ahead and actually do it. With that out of the way, we can focus on more important things. Red Ketchup's generally pleased with his personal genocide, until he notices a pair of tracks facing away from his little holocaust.



















His job's not finished yet. He follows the tracks to the Russian base where he proceeds to make short work of the lax security there. He sets a fire, barricades the researchers behind a door, then proceeds to crush the robot penguin with a steam shovel.




















Job accomplished, he then goes on to deplete the infirmary of its resources to the horrified reactions of his spectators. Olga in particular is taken with the destruction this solitary man's capable of. However, her admiration can only last so long against the face of someone endangering the safety of her men. She retaliates by shoots flares at him.

"Bright light! My only weakness!"

Even blinded, Red Ketchup continues to fight off his pursuers. Olga notices the firehose and gets the idea to douse him in subzero temperatures. The trick works.











The survivors and corpses are regulated to the infirmary where Olga Dynamo is amazed to find out that Red Ketchup is still alive. She orders the doctor to focus on him since he's a valuable speciman and would be of immense value of research for "Comerade Ultra". If the secret behind what makes Red Ketchup ticks is cracked, their team of Russian soldiers would be unstoppable.





















Of course, that's easier said than done. A mixture of antifreeze in his veins is enough to bring some colour back into his bloodshot red eyes. Foolishly leaving him alone to recover, Red Ketchup regains conscious just long enough to inject the tubing into the doctor's vodka bottle. Once the good doctor's incapitated, his corpse is used as a decoy body double while Red Ketchup makes good his escape. He looks to be in pretty good shape for someone on the verge of death.














Back in America, the chief's joy over not hearing from Red Ketchup in six days is cut short over a special news announcement that there's been a surplus of Soviets in the Antartic area. The chief wonders what Ketchup's done this time. A GreenPeace party sees the result of the penguin genocide, and notices overhead planes flying, and feels that somebody must be responsible. So far, nobody's admitting to anything.






















Just imagine the fuss that'd be made if they'd used snow seals instead. Meanwhile, Red Ketchup continues to strangle every penguin he comes across, "just to be sure."

While Olga's following his trail, she wonders why he's killing these penguins if he's not bothering to eat them? However, Olga's snowmobile is heard across the vast expanse, and Red Ketchup takes cover. When he sees the Russian in pursuit, he hides in a proper vantage point, and leaps on her from behind, and the two of them get engaged in an equal scuffle on the icy flow. The two of them are evenly matched, with neither of them gaining the upper hand. However, their feud is cut short when a Russian submarine rises up from the ice to intercept.

While Olga gets acquainted with her camarades, Red Ketchup is detained and held prisoner in the hold...
















...for the duration of one page.



















How he managed to free himself isn't shown, but that's not important right now. What's important is that he's already killed a dozen men, and holed himself up in the submarine missile control room, where he's taking extreme delight at firing at communist boats using their own weapons back on them.























Just as the remaining soldiers on the sub manage to burn through the iron door, Red Ketchup rests his finger on the armed nuclear weapon button aimed at Moscow, unless the crew surrenders and they divert their path toward Hawaii.
"Is he bluffing?"
"You really want to find out?"


































While the captain protests, Olga notices that the wiring to the nuclear weapons has been cut, making Red Ketchup's demands an empty threat. She intervenes by crossing the wires, short-circuiting Red Ketchup in the process.
"Is he dead?"
"I doubt it. I'm beginning to know him!"

Having found the only method that can possibly restrain Red Ketchup, he's dosed with a constant burst of electricity throughout his body. Red Ketchup is ferried to a secret laboratory for illegal research.





















So far, the only proven method to control the man is by using electroshock therapy. If he does anything without being told to, he'll get an electric shock. If he tries to remove the headset himself, it'll automatically shock him.



















The man examining Red Ketchup turns out to be a Nazi doctor from Auschwitz who talks to a blow-up doll in his spare time. When Olga learns of this, she becomes revolted at the idea of working with a war criminal, but continues to do experiments, even as she lectures Herr Doktor to stop examining Red Ketchup for his perverted views.






















The director wonders what Red Ketchup has to offer. He's not very strong... and he's not as fast as the competition. But what Red Ketchup can do is digest more drugs than anybody. After pill-popping the champion under the table, and sampling a few of his leftovers, the director has had enough of wasting his good men, and wants some results from these experiments. He orders Olga to follow the Nazi doctor's instructions, even though she disagrees with him.











So far, his latest plot is to have Olga seduce Red Ketchup while the director and Doktor watch the results through a one-way mirror in the next room. As far as ideas go, this isn't too bad, though it's kind of a waste of Olga's talents.













However, the results aren't looking too promising. Even though Olga's practically throwing herself half-naked at him, he's displaying as much response as a bored schoolkid in history class. She'd have more success from a statue.

Sensing that she's not going anywhere this route, Olga offers to turn off the electric current around his head, so he'll trust her better, and be free to follow his own desires, the results of which can be seen below. I've replaced Red Ketchup's junk with something more suitable regarding his genitalia. Don't worry - his penis doesn't look like that, though it's be infinitely more horrifying if it did.











After clocking Olga, Red Ketchup hightails it out of there, with his clothes in tow, and Olga upset over being spied on, hurls a brick through the one-way window and punches the Nazi doctor out since she's had enough of him. Red Ketchup suits up very quickly (a new record!) and proceeds to break out of the laboratory, hijack a tourist bus and make his way to the main capital. From the reports of his current path, Olga deducts that he's headed in the direction of the Kremlin. Along the way, Red Ketchup gets sidetracked by a poster that enhances his worst fears.





















In his mind's eye, he envisions a nation of Communist penguins that threatens the existence of a free world. While he makes his way to the aquarium, the barricade of Russian soldiers wonder what's keeping him. After a quick look at the surroundings of his last known position, Olga sees the commercial poster, and realizes where their fugitive's gone to.












At this point, Red Ketchup's already broken into the aquarium without paying admission.

















"Where are those blasted birds?"
"Finally!"

Once he's found his target, he begins resuming his mission long past its sell-by date. While he's engaged, the army's already converged upon his current location and begun opening fire. If you've ever wondered why you're not allowed firearms in a SeaWorld exhibit, the following pages should show you why.









































While Red Ketchup punches out an octopus, Olga does one better and manages to capture him in a fishing net in the confusion.

"You've caught a snapping Red Ketchup! What are you going to do with him now?"





















A few days later, a mysterious box arrives at the Pentagon. A customary search reveals no explosives or any harmful devices. It's only after opening it that the chief sees the contents that he'd prefer the bomb. Apparently, they decided it'd be wiser to return Red Ketchup to the authorities, since he'd be more of a menace to the Americans than the Russians.

It was this volume that I began to truly appreciate the insanity and destruction of Red Ketchup. I was too young to appreciate it when it first came out, and it's a good thing it's being reprinted again, though they lack the intensity of the original covers.