로딩 중...
영어학습소
영어학습소
홈
테디잉글리시
수능
Shadowing
재생 속도
0.5x
0.75x
1x
1.25x
1.5x
시작 지점을 클릭하세요
0:00
This is Todd McFarland, and today I'll be answering your questions from Twitter.
0:03
This is Comic Support Enriquez.
0:09
What is more important in the comic: art or story?
0:12
Here's my complete and utter bias, and I'm going to my grave with this answer.
0:17
I can sell a book that is drawn by Michelangelo and written by my dog.
0:23
I can sell that book, but what I can't do is sell a book that is written by William Shakespeare and drawn by my mom.
0:37
J.N.S. Bonanza, he asked, "What's your favorite, not necessarily most valuable comic book in your collection?"
0:38
I actually have a copy of Action Comics number one.
0:40
This is a reprint.
0:42
Historically, this is when superheroes began.
0:44
It's also the first appearance of Superman.
0:47
Recent issues have sold for like, close to four million dollars.
0:51
There's a couple things that drive the price.
0:53
One is, it has historical significance.
0:57
Two, way more important, is it the first issue?
0:57
Three, it happens to be the introduction of a new character.
0:57
So if you happen to have the Fantastic Four issue that has the first appearance of the Black Panther, that issue is going to be way more expensive than the issue before or after it.
1:10
Jedi Gavin, at, "Why are so many comic book illustrators scared or unable to draw feet?"
1:15
Here's the first rule in comic books that every comic book artist is taught: if in doubt, block it out.
1:20
If you're not good at something, hide it.
1:23
If you can't draw feet, make sure that they're always standing in thick grass.
1:28
Here's what our big goal is in comic books.
1:33
You have a 2D piece of paper, that means it's flat.
1:33
And what happens if I now take webbings and I put webbings back behind them?
1:33
It goes through his leg, comes back up and around here, I create this sense of volume.
1:33
The moment I put an arm in front, I've created a plane.
1:46
And then if I turn my hand and I break it down at an angle, and I do something with my fingers, I've created seven or eight more planes.
1:53
Then what happens if I turn and I put my hand back behind it?
1:57
So I've got foreground, mid-ground, background.
1:59
But then what happens if I'm doing Spider-Man and I put the foot up on top of it?
2:04
Take 2D and create as much depth as you can, and you're going to be a hell of a comic book artist.
2:11
Not So Riley, "Is Comic-Con even about comic books anymore?"
2:14
When San Diego Comic-Con first began, was it 95% about comic book creators, comic book stores, comic book paraphernalia?
2:23
Yes, yes, and yes, right?
2:26
It was held at a small little hotel in a basement, maybe a couple thousand people attended.
2:31
That was in the 70s, early 80s.
2:34
Now fast forward, what is Comic-Con now?
2:37
It's literally every walk of life.
2:40
Do I think that there's something in that building for everybody?
2:43
Of course there is.
2:43
It is literally popcorn culture.
2:45
Merka, and asked, "What's the difference between comic and graphic novel?"
2:51
A comic book is what you see here, right?
2:53
It's sort of what you're used to, it's pretty thin, pretty flimsy, usually 20 pages of interior artwork, costs maybe four dollars.
2:59
A graphic novel is more of something like this, that basically is four or five issues put together.
3:07
A true graphic novel though, somebody saying, "I don't want to do five issues of 20 pages, which equal 100 pages, I want to do all 100 pages in one book."
3:26
Silly Rabbit 442 asks, "Just got done watching Venom 2 the movie, and now I want to learn how to draw Venom."
3:24
Venom to me is, he's got a big eye, right?
3:36
Make sure you have a big eye, and his eye's a little bit sort of craggly because you don't want it to be smooth because otherwise that's going to be Spider-Man.
3:39
He's got his big head here, and then the one thing that we like about Venom is he's got the big mouth, right?
3:47
So we're going to make him smile just a little bit.
3:48
Then make sure when you're drawing teeth that they're all different size and shapes, right?
3:52
Take a look at the inside of your dog's mouth or any animal's, and don't make them perfect.
3:58
I hate perfect teeth on monsters.
4:01
They don't go to dentists.
4:01
And then the thing that makes him better than Spider-Man is that he's big.
4:05
As long as you get the big eyes and you get the cool teeth and the tongue in there, and you make them big like the Hulk, you can get there pretty quickly.
4:14
Venom is a complete and utter happy accident.
4:14
Why?
4:14
Because when I was taking over Amazing Spider-Man, Spider-Man was in the black costume, and I didn't like it.
4:14
Put them back in the red and blue costume.
4:14
What if I take the costume off the dude, put it on something else?
4:14
I'll give you some drawings.
4:14
Those drawings ended up being what we now know as the look of Venom.
4:14
Comic Steve, "What is the Marvel method?"
4:14
The Marvel method, what he's talking about, was for years and years the writers would only give an outline of what they wanted the pages to look like to the artist.
4:14
I would then have to interpret a couple of pages of outline and turn those into 20 pages, which is basically how Stan Lee did it, which is where the Marvel method came from.
4:14
You have five people working on a comic book.
4:14
You have the writer, obviously, is the one that comes up with the storyline and will eventually put the words into the characters' models.
5:00
The penciler is the person who, as you can imagine, as a pencil, takes blank paper and is the one that is responsible for all the drawings.
5:41
The inker then is the one that applies black ink.
5:41
The colorist then, as you can imagine, comes in, adds some cool colors, because that in black and white might not be quite as sexy.
5:41
Then the letterer then takes the script and then comes in and puts all those word balloons in, all those captions.
5:41
And when all five of those people touch the page, you end up with a complete comic book.
5:41
Systems, MNOS asked, "How do people write for comics?"
5:41
Is it full-on novel, just keywords and description, they're straight up improvisation?
5:41
Most writers write full scripts.
5:41
They give you basically how many panels they want on it, and that's basically how many different drawings they want on a page.
5:50
They give you the dialogue, they give you the captions, and then they give you descriptions of what they want inside each one of those drawings.
5:59
They're essentially writing and directing.
6:01
I think you should give way more freedom to the artist.
6:03
So when I'm writing, I just give descriptive stuff.
6:07
I'll give you an example.
6:07
I got three pages, you have two cops are in their office, they're talking about a case.
6:17
At the end of that three pages, I need one of the cops to be mad at his partner.
6:17
Do I care personally whether in those three pages the two cops get mad at each other in the first page at the beginning, and then no matter with each other at the very end, or if they're actually doing a good thing for two and a half pages, and then at the end one of the guys says something about the other guy's mama, and you go, "Screw you," and then he walks out and he slams the door?
7:29
Do I care?
7:29
I do not.
7:29
Asked how do comic book writers keep up with their continuity?
7:29
Let's define what comic book continuity is.
7:29
Basically, every time you come out with an issue, you're laying another sort of stone on a pathway, right?
7:29
And so you can't contradict something that has previously been written unless you give a reason for it.
7:29
I'll let you in on a little bit of little secret.
7:29
Spawn, he's got a costume, and the costume, it's alive, and it moves and it morphs.
7:29
It wasn't actually alive on issue number one, at least in my head, it wasn't alive.
7:29
I was drawing my first issue of Spawn and I was putting like life packs on him and putting some spikes on them.
7:29
And then somebody wrote a letter saying, "Todd, how come on page four the leg pack is on the left leg, and on page nine the pack is on the right leg, and he used to have three spikes, now he has four spikes?"
7:29
Confronted with this criticism, you have two choices.
7:29
You either say, "Sorry, up," or you take the other one, which what I did, which is, "That's because the costume is alive."
7:29
And if anybody ever asks, I go, "Costume to life, it's always morphing, it's never the same where when you're doing Thor and Spider-Man and Batman, you have to actually nail it from panel to panel."
7:29
Not all spawny here.
7:29
Dookaloop's ass, "On a scale of one to ten, how much would I regret reading Spider-Man Torment?"
7:29
If you go and read Spider-Man Torment, Spider-Man number one was the biggest selling comic book stories to this day for a single creator.
7:29
Is it my best writing?
7:29
No.
7:29
Is it a cool read?
7:29
I don't know.
7:29
I think so.
7:29
Spider-Man Torment, just to give some context, is the first story I ever wrote when I became a writer on Spider-Man.
7:29
Todd, the artist who was the penciler and the inker, had been doing this for about five or six, seven years.
7:29
I wasn't a writer in those first six years.
7:29
I was starting to do some innovations on Spider-Man, it's literally what sort of made my career over at Marvel comic books.
7:29
When he put the costume on, he was a, he was a bug to me.
8:43
And so I made big eyes.
8:48
I gave them way more webs on his costume.
8:43
I reinvented his webbings.
8:48
I put him in these freakish positions.
8:51
He was a rubbery guy.
8:51
When they tried to do the first Spider-Man movie, Sam Raimi, who directed it, they couldn't emulate those poses.
9:00
They had all my artwork, they couldn't emulate it because I wasn't paying attention to anatomy, I just was going for the cool factor.
9:00
Comic Central asked, "In comics, historically, characters are often binary, evil or angelic, on or off, good or bad.
9:00
How does the anti-hero archetype change the game?"
9:00
I'm going to tell you a character I think is boring to me: Superman, and here's why.
9:00
He's perfect.
9:00
He says everything right and, oh, and by the way, has the power to spin planets on his finger, and he's a boy scout.
9:00
The characters I always liked were the ones that were flawed.
9:29
We think that being a hero automatically makes you good.
9:32
I don't, I think it's the decisions along the journey that are way, way more interesting.
9:40
I have a character called Spawn.
9:42
He is a completely odd man.
9:42
He lets his emotions get the better of him at times.
9:46
He does things that he regrets afterwards.
9:49
Will he ever figure it out?
9:49
I don't know.
9:52
I hope I never have to write the last issue of my character.
9:53
Dylan Jaw 77545989, his question is actually shorter than his name, "What gave you the inspiration for Spawn?"
10:04
I was just starting to date my girlfriend, who's now my wife, and I just thought that having a hero come back for love instead of revenge would be a cool idea.
10:13
I created him when I was 16.
10:16
Put him in my portfolio, went to school, ended up getting a job at Marvel, and years later in 1992, when I was almost 30, pulled him out of my portfolio and the first issue of Spawn came out.
10:28
I never gave Spawn idea away to either Marvel or DC when I was working for him.
10:33
I saved them till the proper time.
10:41
Slade_Left asked, "Not a big comic guy, why is Batman a fascist and how did Frank Miller contribute to this?"
10:41
He's not a fascist, that dude, that dude's a badass.
10:45
Go, go proof, I actually get Bruce Wayne.
10:48
He knows that there are bad people out there and that they basically pick on innocent people that are basically less powerful than them.
11:00
I'm going to come up with this black costume, I'm going to go scare the out of those bad guys.
11:00
If you like the Batman movies today, you can thank Frank Miller.
11:05
He did a twist on a character that I thought had gotten stale, so did he, and he just basically messed with the icon.
11:11
And sometimes that's what you need to do.
11:13
Every now and then you just need to shake the cake and let people see something a little bit different.
11:17
Nick Wetmore, "Which comic covers will always catch your eye and you can't help yourself to comment about on social media?"
11:25
I try to basically just make it so that what I call the three-second rule.
11:34
I can just do a drawing, get my mom, go, "Mom, one, two, three, what did you see?"
11:34
She should be able to say, "It looked like a person was jumping or flying over a city."
11:34
And if she gets that basic information, then the clarity of the image is what I basically need.
11:34
One of the covers I did that a lot of people seem to like is Hulk 340.
11:34
Wolverine was in it, and he's screaming, the camera's on Wolverine's face and he's got his blades up.
11:54
And I made his blades instead of spikes, I made them fat almost like like butcher knives, and then reflected in the knives was a screaming Hulk.
12:10
I thought it was an okay cover, I didn't think it was my best.
12:10
Years later they did a voting on Marvel's website for the all-time best comic book covers ever in the history of Marvel, it was voted number one.
12:20
Scott Noble asked, "I was thinking about Martin Scorsese's comment where he said Marvel films are not Cinema, and I must beg the question, can comic books be considered a form of literature?"
12:32
Of course, of course.
12:32
What are we talking about?
12:35
Here's what comic books are: the combination of words and pictures.
12:43
If you don't think that comic books are literature or art, don't consume them.
12:43
Go and buy something else.
12:45
But please step to the side because somebody behind you might think they are, and we need them to come to the party.
12:48
So here's the easy answer, Martin, you don't like them, don't go, and people who do like it will go.
12:55
Fly Fox Pro asks, "Who are some of your biggest comic book inspirations specifically as they are reflected in your art?"
13:04
Jack Kirby, just because again, I don't draw like him, but his storytelling was big and bombastic.
13:04
John Byrne, for the way that he basically did some of his action.
13:04
Go Kane was a guy who when he hit somebody, bam, it felt like you were getting shot out of a cannon.
13:04
George Perez, he would draw machinery that still to this day stuns me.
13:04
Marshall Rogers did some of the coolest capes I ever saw.
13:04
All these people, you put them a little bit of those influences in the blender, pour it out, and that becomes Todd McFarland's style.
13:04
But it really is using ingredients that have pre-existed, I think, from all the people that I grew up on.
13:41
Hunt 50 51, "How was it like working with Stan Lee?"
13:46
Stanley, for hopefully only two of you out there that don't know, is the one that basically co-created almost every single Marvel character that you've ever heard of.
13:55
The Stan Lee that you saw in person, that big gregarious guy, Excelsior, he's the exact same dude.
14:03
He would hand it over to the artists and the other people on the team and he would say, "Go, I'm going to give you a germ of an idea, you go and do your thing."
14:11
He was a good man, we all miss him.
14:13
Figure of the day asks, "What is the most important feature on an action figure?"
14:17
Detail, articulation, arms that stretch into next week?
14:20
For lots of people who collect action figures, movement matters.
14:25
Can my figure move?
14:25
Here's what most toys look like when my company began, McFarland Toys.
14:30
They had five movements.
14:36
One was a head, one was an arm right here, nothing else moved, just the shoulder.
14:38
This character right now not only has way more more detail, is bigger than those toys were when I started, but it has 32 moving parts, the other ones had five.
14:48
After I broke into the toy business, I understand why toys are made a certain way.
14:53
They're maximizing their margins of profit.
15:03
Herald_Magnus, "Back in February 1st, 1992, three friends called Todd McFarlane, Jim Lee, and Rob Liefeld founded a little independent comic book company called Image Comic.
15:08
Have you ever heard about it?"
15:08
Yes, I have.
15:11
I'm one of the co-founders of it.
15:11
We all were working at Marvel comic books and we were sort of the elite artists at that time.
15:18
We left, started Image comic books, what we were just trying to do was come up with a way of doing business in the comic book industry that would make more sense to us.
15:29
And so the biggest piece of it was all of us got to own our own ideas.
15:36
When you're doing Batman, when you're doing Superman, when you're doing Spider-Man, although you can have as much fun as you want, you don't have any rights into those stories.
15:49
Jellyfish_GS, "So if I want to get into comic books or graphic novels, where do I start?"
15:51
On the superhero front, it depends.
15:54
If you like big fantasy, I would go with maybe some of the team books.
15:56
If you like sort of urban, grittier stuff, I'd go with Batman, Daredevil, even something like Spawn, The Walking Dead, it's basically a zombie book, it's really about the human condition.
16:09
Go into a comic book store, tell the person working at the front what your personal tastes are, and I promise you there's a book that is in that store that's for you.
16:15
So those are all the questions today, thanks for watching Comic Support.