Design is a big part of it, placing things on a page that are pleasing to the eye.ĭid you have a journal like Syd when you were a teenager? There are so many different things we’re using. There’s a lot of design that goes into each panel, but I don’t think people talk about that a lot. Even if it’s just people talking or walking down a hallway, so that it’s not boring to look at. But you still have to make it interesting, design-wise. For these types of stories, I don’t want it to be flashy and I’m not concerned with it being beautiful. That’s part of comics: It’s a lot of doing the same thing over and over again. Yeah, as the book goes, you see me changing it up. Are those perspective shifts a deliberate choice on your part?
Syd walking through the school hallway at the very start is one of the few points in the comic where you get an angled perspective. It takes a lot of the decisions away, and it really helps to get one moving onto a story if you have the road laid down.įrom top: Photo: Fantagraphics Photo: Courtesy of Netflix
#IM NOT OKAY WITH THIS HOW TO#
Setting up the rules and guidelines, I used Popeye strips as my guide for how to tell the story. When I start a project, there’s so many little decisions you have to make. The way he stages everything is side-to-side, and you can tell in that first chapter that I’m really heavily using all that stuff. For, I was looking at old Popeye strips and the thing that attracts me to it is that it’s sort of like vaudeville. A long time ago I used to get really upset with myself for not having a defined style that I felt was my own, so I decided that I was gonna lean the other way and use style as costumes, depending on the story I was telling. Segar, who created Thimble Theatre and Popeye, is one of my favorite cartoonists. What is it about that style that appeals to you?Į.C. The design for Syd is very Olive Oyl, and there’s a lot of Popeye in your work in general. There’s an element of that that attracts Jon to them, and he can easily fit his style and what he creates on top of it. The style of these two books is very - it’s that Scott McCloud thing, where they are simply drawn characters, so it’s very easy for readers to imprint their own experience and emotion onto the characters. Some of the panels are exactly replicated on the screen. You can really see that in The End of the Fucking World quite a bit. The way he’s talked about it, he sees my work as already storyboarded out. What is it about Jonathan Entwistle’s perspective that aligns with what you put on the page? (If you haven’t read the book or seen the show yet, consider skipping the very last question.)
#IM NOT OKAY WITH THIS SERIES#
With I Am Not Okay With This hitting Netflix this week, in a form that takes visual as well as narrative inspiration from his graphic novel, Forsman spoke with Vulture about his deeply personal connection to the book, and how the series embraces and diverges from his story. After two seasons of that twisted story of teenage rebellion, Entwistle returned to Forsman’s work for I Am Not Okay With This, a new Netflix series that also explores the trauma of adolescence, but this time with a superpowered twist: Syd ( It’s Sophia Lillis) is a teenager grieving her father’s recent suicide, and her emotions manifest in devastating bursts of psychic power that she can’t control. His extremely dark graphic novels are characterized by a stripped-down art style and stories focused on feeling over plot, but his work resonated with writer-director Jonathan Entwistle, who adapted Forsman’s The End of the Fucking World into a Netflix show.
#IM NOT OKAY WITH THIS TV#
Spoilers ahead for I Am Not Okay With This, the comic and the show.Ĭharles Forsman is an unlikely cartoonist to find success in the world of TV adaptations.
0 kommentar(er)
