Full Version: SOUND EFFECTS



Full Version: SOUND EFFECTS

From: ivan brandon (IVAN) [#1]
 17 Oct 2005
To: ALL

i would think this is something we all hate doing, i know it's not high on my list of fun party night activities... making text sounds on the page, either through sound effects or text balloons... the thing i'm working on right now has whimpering, babies crying, scratching noises....

i'm not one for narrative exposition in this context if i can avoid it. the one i'm stuck on right now, there's a grown man, screaming in terror. how the hell does that spell out without looking ridiculous?

From: Steve Niles (STEVE-NILES) [#2]
 17 Oct 2005
To: ivan brandon (IVAN) [#1] 17 Oct 2005

I usually go with...

AAAAHHHHHHHHHHHH!

But that's just me.

From: Warren Ellis (WARRENELLIS) [#3]
 17 Oct 2005
To: ivan brandon (IVAN) [#1] 17 Oct 2005

When in doubt, cut the sound out.

I HATE sound effects. I go through the most absurd workarounds on earth in order to not have to use them.

From: Steve Niles (STEVE-NILES) [#4]
 17 Oct 2005
To: Warren Ellis (WARRENELLIS) [#3] 17 Oct 2005

Really? I surprised. I think Soundfx are an big part of what makes comics unique. I have a lot of fun coming up with them.

From: ivan brandon (IVAN) [#5]
 17 Oct 2005
To: Warren Ellis (WARRENELLIS) [#3] 17 Oct 2005

i hate them like crazy... but unfortunately cutting is not an option in this case. his scream causes something else to happen which is essential to the sequence.

fucking comics.

From: Warren Ellis (WARRENELLIS) [#6]
 17 Oct 2005
To: Steve Niles (STEVE-NILES) [#4] 17 Oct 2005

They take me right out of the story.

From: Russell Lissau (RLISSAU) [#7]
 17 Oct 2005
To: ivan brandon (IVAN) [#5] 17 Oct 2005

I can't think of an example right now, but I love the ones that look like artwork, ie: they become part of the image.

And personally, I love a good BLAM

From: ivan brandon (IVAN) [#8]
 17 Oct 2005
To: Russell Lissau (RLISSAU) [#7] 17 Oct 2005

From: Benito Cereno (BENITOCERENO) [#9]
 17 Oct 2005
To: ivan brandon (IVAN) [#1] 17 Oct 2005

I write sound effects merely to entertain myself. Which is why it makes the sound "DOOSH" when Teddy Roosevelt punches someone.



DOOSH!

From: ivan brandon (IVAN) [#10]
 17 Oct 2005
To: Benito Cereno (BENITOCERENO) [#9] 17 Oct 2005

i still have to grab a copy... i have meant to on several occasions...

From: Benito Cereno (BENITOCERENO) [#11]
 17 Oct 2005
To: ivan brandon (IVAN) [#10] 18 Oct 2005

You make my heart cry, Ivan Brandon.

I was trying to find a page from a Hector Plasm story I did that has both the sound effect "DONG!" and the sound effect "WANG!" in consecutive panels, but it doesn't seem to be on my website for some reason.

From: Russell Lissau (RLISSAU) [#12]
 17 Oct 2005
To: ivan brandon (IVAN) [#8] 18 Oct 2005

Which raises the question: Should you use exclamation points after the SFX or not?

I did at first, but lately I haven't. Mostly for three reasons:
1. To avoid comparisons to the '60s Adam West show
2. The panels looked cleaner without them.
3. Exclamation point in text denotes emphasis. But since SFX are visual, you can denote emphasis by making them bigger. So, I saw them as extraneous.

That being said, KA-BOOOOM! still looks fun.

Or BLAM!

Or, in your case, BLAM! BLAM! BLAM! (etc.)

This is why we have letterers and editors. Sometimes my vision for a story extends to something like this, and sometimes I've gotta leave it to the experts.

From: Rantz Hoseley (RANTZ) [#13]
 18 Oct 2005
To: Russell Lissau (RLISSAU) [#7] 18 Oct 2005

Thar was one of the things that drew (no pun intended) me to Cerebus in the first place was the way that Dave incorporated sound into the image as a design element that 'felt' like it should sound by how it was drawn/written/rendered.

I still think as a wholistic approach, his stuff can't be beat for that level of seamless integration.

From: jock [#14]
 18 Oct 2005
To: Warren Ellis (WARRENELLIS) [#3] 18 Oct 2005

ahhh, c'mon.... who can beat the john wagner fx of a body hitting the ground from a great height - 'KRUMP!'?


or a guy being hit with a solid steel bar - 'WHANK'.
or repeatedly--- 'WHANKAWHANKAWHANKA'.

though that last one took me out of the story for a moment too....
J

From: rey (COREY_LEWIS) [#15]
 18 Oct 2005
To: ALL

Dudes, sound effects are so rad.

I don't like ones like "blam" tho.

I like ones like KLERD or GWOOHH or CHIT CHIT CHIT or PENG!!!!!

KAPHKAAAAAta-ta-ta!!!!!!!

I mostly enjoy drawing sound effects too. I mean right on the page. I don't like computer sound effects much at all. I don't like when a sound effect is placed "over" the art... I like it when it is IN the art!!!

I don't know if this helps this thread. What's the question????

From: johnrieber (JRIEBER) [#16]
 18 Oct 2005
To: rey (COREY_LEWIS) [#15] 18 Oct 2005

sfx? enjoy some other folks'. the really surreal ones.

i use them sometimes, but i hate using them. wood does not go 'nok nok' when you tap it with your knuckles. guns do not go 'koom' or 'bang' when you fire them. glass houses do not go 'kkkkRACKATHOOM' when they explode. etc.

they're antirealistic. vestiges of the pulp fiction roots of the medium. and like pulp magazine soundisms, they're usually pretty lame sonic shorthand...not even onomatopoeia. which i don't much care for anyway anywhere, unless the stuff is actually being read aloud or pronounced.

and even then--you can drive yourself nuts trying to figure out what a closing door sounds like. and every door in a house may sound different.

it is not easy to read a comic out loud, including the sound effects, without getting tongue-in-cheek about the time you have to pronounce your third loud 'WHOK!'

strange selectors are ususally operant, too. the ambient noises you choose to sfx, the ambient noises you ignore. same deal with biological sounds.

film's better for that stuff.

(sorry, corey--didn't mean to aim this at you--i just didn't switch the reply dropdown to ALL. i think it's cool that you enjoy your sfx.)

From: Brian Wood (BRIANWOOD) [#17]
 18 Oct 2005
To: rey (COREY_LEWIS) [#15] 18 Oct 2005

PENG! is the greatest sfx ever. Nothing will ever come close.

-b

From: Leland Purvis (LELANDPURVIS) [#18]
 18 Oct 2005
To: Warren Ellis (WARRENELLIS) [#6] 18 Oct 2005

"They take me right out of the story."

I think one of the main reasons it happens a lot is that it's not done by the artist. Sound effects, especially, can and should be in tune with the aesthetic of the images. When you see, say, a Sienkiewicz comic lettered by Todd Klein, (nevermind Starkings, etc.) small wonder the sound-effects often look jarring.

If things like screams and other particularly human sounds were drawn by the artist doing the images, they might mess with the reading experience somewhat less. 

But I see your point. There's kind of a BobbyMcferrin-phenomenon that happens a lot, for sure.

From: Warren Ellis (WARRENELLIS) [#19]
 18 Oct 2005
To: Leland Purvis (LELANDPURVIS) [#18] 18 Oct 2005

There's kind of a BobbyMcferrin-phenomenon that happens a lot, for sure. 

There's a "soundtracking" thing that just doesn't work for me. There was a writer who'd soundtrack his books down to the KLITCH of a key turning in a lock.

From: Bryan Lee O'Malley (BRYANLEE) [#20]
 18 Oct 2005
To: ALL

i agree with rey: computer SFX kill my buzz. that'd be what takes me out of the story. if it's not part of the art, it's not worth doing. whether it's comicraft or translated manga, it drives me crazy when done poorly and stiffly.

that said, since i'm doing comedy action, i find myself doing the doofiest sound effects lately. here's a brief list:

SILENCE (the sound of silence)
GLARE (the sound of people glaring at one another)
VOOSH (the sound of someone standing up real fast)
WRRR-POW (the sound of a bionic arm punching someone)
SHUT (the sound of a door closing at standard volume)
WHF (the sound of a punch missing someone's head)
SHAAAAAAA (the sound of a cool scene happening)

Those are spread out across 30 pages of story, so i guess i don't use them THAT much. They're usually unnecessary, but i like them best when they function as a visual / design element, maybe leading the eye to where it's supposed to go in the panel or page. And, obviously, I use them as a stupid crutch or cheap gag.

From: Vanessa Satone (VANESSA_SATONE) [#21]
 18 Oct 2005
To: ALL

I'm bad with sound effects. I can't usually visualize them when I'm drawing, so I do them in computer. I usually just have sound effects when people are hitting each other. I'm going to try experimenting with hand lettering for the current chapter I'm drawing, and we'll see how it goes.

I'm not a big fan of exclamation points in sound effects. When I'm lettering books at CPM, I always take out the exclamation points.

I did do some cheesy sound effects for the short comic I did recently. And I'm going to rip off Mal and list them here with definitions:
SNEAK (the sound of a guy sneaking his arm around a girl's shoulder)
SPURT (the sound of blood spurting out of a guy's head)
FLICK (the sound of turning on a light)
GRAB (the sound of grabbing something)
STREEETCH (also the sound of a guy sneaking his arm around a girl's shoulder)
WHEEEOOOO (the sound of falling)
PEEK (the sound of peeking)
POOF (the sound of someone disappearking into thin air)
FLUTTER (the sound of paper falling)
BLUSH (the sound of blushing)
DING (the sound of a bright smile)

It was kind of fun, but I think I'll stick with WHACK, BAM, FWOOSH and CRACK.

From: Rantz Hoseley (RANTZ) [#22]
 18 Oct 2005
To: Bryan Lee O'Malley (BRYANLEE) [#20] 18 Oct 2005

Yeah those are always a blast... doing the daily strip (now the whenever-the-fuck-it-gets-done-strip) one of the real joys is doing the 'discriptive' sound FX.

Mope-a, mope-a, moppity-mope - for someone moping
Trudg-aTrudge - for someone walking home with a hangover.
Puff puff puffity puff...smolder - for someone smoking a cig very fast while stressed.
Blink blink - for someone staring at someone else in disbelief during a three panel 'beat'
ka-SNAG - for someone grabbing a joint in a fast and altogether too eager fashion from someone else.

I'd argue though that using stuff like this isn't so much sound FX as it is alternate storytelling... like captions in a comedy context. There were a couple in SP #2 that I fucking loved that used SFX in that way.

in 'regular' comics though, I'd agree with the statement that SFX are distracting (to me) when it's done by someone other than the artist, or by a letterer who doesn't look at the SFX as part of the image composition.

From: Bryan Lee O'Malley (BRYANLEE) [#23]
 18 Oct 2005
To: Vanessa Satone (VANESSA_SATONE) [#21] 22 Oct 2005

But see, it makes sense for us to do that, because we've read a lot of manga... the Japanese have a sound effect for anything. We just make shit up for most things.

I swear to god it makes sense.

From: Andy Diggle (ANDYDIGGLE) [#24]
 18 Oct 2005
To: jock [#14] 18 Oct 2005



It's a classic!

From: McK (JAMIEMCKELVIE) [#25]
 18 Oct 2005
To: Andy Diggle (ANDYDIGGLE) [#24] 18 Oct 2005

I was going to post that, but I thought it was only fair to wait for you to get to the thread. ;)

From: Andy Diggle (ANDYDIGGLE) [#26]
 18 Oct 2005
To: McK (JAMIEMCKELVIE) [#25] 18 Oct 2005

I am nothing if not predictable...

From: Benjamin Birdie (BENJAMINBIRDIE) [#27]
 18 Oct 2005
To: Bryan Lee O'Malley (BRYANLEE) [#20] 18 Oct 2005

quote:

SILENCE (the sound of silence)

GLARE (the sound of people glaring at one another)

VOOSH (the sound of someone standing up real fast)

WRRR-POW (the sound of a bionic arm punching someone)

SHUT (the sound of a door closing at standard volume)

WHF (the sound of a punch missing someone's head)

SHAAAAAAA (the sound of a cool scene happening)

See, those are the super best kind. I use Comicraft, but try and live by a more Sim-type lettering ethos. And I always end every SFX with a period. Because that's just a hoot.

And how could you tell when someone is at the end of their can of soda without the FKKKTTTKKKKTTT?

From: Joshua Hale Fialkov (JHFIALKOV) [#28]
 18 Oct 2005
To: ALL

Favorite SFX I've ever made my letterist suffer through is:

WhaaaaaaaaaaaaaaaBANG! For a baby crying and then being shot.

...


I think sound effects get sort of... misused a lot. They're a rhythmic device more than anything, and I think often times they just get sort of plopped in to... well... make a sound. I just think they can serve a nice thematic/tonal shift and identity if used properly.

I'm also a fan of Cap America hitting people with his Wank.

From: rey (COREY_LEWIS) [#29]
 18 Oct 2005
To: ALL

Ok, look, yeah, this is important to note: "SHAAAAA!!!!" is the fucking coolest sound effect ever (when used decisively). I know that both Mal and I have used it, and so does Masashi Kishimoto in Naruto.

And yeah, to reiterate, SFX must be drawn in the art. Or they are bullshit. And yeah, computer SFX definitely disrupt story flow. But, drawn SFX totally ENHANCE that shit for me. For instance, the Street Fighter comic, I think, could GREATLY benefit from drawn SFX, instead of the canned ones they currently use. For RS, I will be drawing all my own SFX!

When I think of non-SFX books, it totally distances me as a reader. Like, I am deaf to the surrounding world of the characters. That saddens me. An artist has to be very, very awesome at drawing collision and movement to be able to pull off a non-SFX book.

It's an extra bonus when the visual style of SFX COMPLIMENT a scene or movement, too. I think I have done (or attempted) it a few times... I love that shit.

oooo on another note, I really enjoy "faux-effects"... I'm not sure they really exist yet, but that's what I consider random, large kanji SFX when reading manga-- since I can't even read what it's saying, it's all in the shape of the letters that suggest it's impact... I've tried creating "faux-effects" since then, shapes that indicate sound but don't actually mean anything. I have not refined it yet. I'm sure it's been done or whatever.

From: Jacen (JACENBURROWS) [#30]
 18 Oct 2005
To: rey (COREY_LEWIS) [#29] 19 Oct 2005

I'm with Corey. SFX in English really put me off usually, particularly when it is a lousy font, but when I read Manga I really love the expressive quality of the Kanji SFX. I can't read a lick of it but it tends to scratched out with the emotion they are trying to convey. It can definitely be over done but in small doses it really seems to be effective.

I'll be watching what you come up with Corey...and I might steal it for the appropriate project. Bwa HA ha.

-J

From: johnrieber (JRIEBER) [#31]
 19 Oct 2005
To: Andy Diggle (ANDYDIGGLE) [#24] 19 Oct 2005

christ, that's great. thanks.

john

From: johnrieber (JRIEBER) [#32]
 19 Oct 2005
To: rey (COREY_LEWIS) [#29] 19 Oct 2005

'sha!' was also the manic/battle cry of the society of righteous and harmonious fists, during the boxer rebellion.

From: Steve Lieber (STEVELIEBER) [#33]
 19 Oct 2005
To: ALL

I try to whittle away sfx when possible. If a picture is drawn well, it creates it's own sound in the reader's mind. Sometimes though, you need them for storytelling rhythm, or for the absurdity they can evoke, or to get across something non-visual. 

I always prefer to design them as part of an image, and I like to crop them or make them part of gutter-space. 

With this one, I needed the effect to show the sound of the motor drowning out Maddy's desperate plea. 

This panel is from the first episode of Flytrap.

And here's a page from an Escapist story I drew and lettered. The WHUMP in the next to last panel wasn't strictly neccesary, but the script called for it, and I think it works in keeping the tone light, despite the humorless, overly-literal drawing style I was using. 


From: Russell Lissau (RLISSAU) [#34]
 19 Oct 2005
To: Steve Lieber (STEVELIEBER) [#33] 19 Oct 2005

That WHUMP is beautiful.

From: Blonde-Powered Enforcer Melinda (MELINDA) [#35]
 19 Oct 2005
To: Warren Ellis (WARRENELLIS) [#3] 19 Oct 2005

quote:

I HATE sound effects. I go through the most absurd workarounds on earth in order to not have to use them.

And yet I can be recently quoted, while flipping through Fell 2, that you are in fact my favorite of unnecessary sound-effectors. Because you don't bother making an effect out of it.

"Toss".

From: Heidi MacDonald (HEIDI_M) [#36]
 19 Oct 2005
To: rey (COREY_LEWIS) [#15] 19 Oct 2005

I"m with you bud, love SFX. But then campiness doesn't bother me a bit. When done well - Sim, AMERICAN FLAGG!, any number of manga -- they are both an art element and a storytelling device.

I guess the modern way is without them, but there's no reason they can't be used intelligently. Or extravagantly.

From: becky cloonan (BECKYC) [#37]
 21 Oct 2005
To: ALL

the sound effect should kind of look like the sound, visually, not just like how it is drawn, but where? like how loud it is, where the sound is coming from, what is making the sound and how it should be read in the pannel? i am bad at sound effects, i am just starting to intergrate them more so i have been thinking about it more, and trying to develop some personal sound effect theories.

i draw them in the pencils, but most of the time i will trace them and add them on over the art in photoshop, on a seperate layer because sometimes it is hard to draw over or under the fx. and in photoshop i can inverse them or whatever. but i like making them by hand.

for some reason i tend to leave vowels out sometimes, except when the vowel sound is an integral part of the noise (shaa and vashooom are good examples). "vrr" "kssh" "chkt" "ch-kt"

yeah i dunno!!! i am still learning!

From: Rhymes With Weezer (SCOTTBIESER) [#38]
 23 Oct 2005
To: Russell Lissau (RLISSAU) [#7] 23 Oct 2005



(The Probability Broach: The Graphic Novel, page 36)

From: Dan Schaffer (DANSCHAFFER) [#39]
 25 Oct 2005
To: Rhymes With Weezer (SCOTTBIESER) [#38] 25 Oct 2005

"Darkness fell on me like a ton of bad cliches." Heh.

From: Rhymes With Weezer (SCOTTBIESER) [#40]
 25 Oct 2005
To: Dan Schaffer (DANSCHAFFER) [#39] 25 Oct 2005

Hey, that line was in the original novel. Not bad for an author's first book, eh?

From: Truckosaurus (TONYMOORE) [#41]
 1 Nov 2005
To: ALL

i love sound effects.

anybody watch Fairly Odd Parents? that show has the best ones, when the fairies do their magic with an audible POOF combined with a 60's Batman style starburst and something very un-onomatopoeia such as TEETH! or DISAPPEAR! i am a simple man. they crack me up every time.

that said, i love a big krakka-baDOOOOM or other such nonsense scrawled across a high-action page. visually i think Hellboy's SFX are the nicest. the dialogue-styled lettering for small KLIKs and TINKs, and nice, round, outlined fwaSHOOMs with square-cut ends.

i eat that shit up.

that said, it can be overdone. too much is too much. like setting the homeless on fire, they should be done judiciously and in moderation.

-T

From: Chris (CHRISELIOPOULOS) [#42]
 1 Nov 2005
To: ALL

I don't know. In a medium where you do everything you can to convey meaning, why limit yourself? A sound effect can be a tool to tell a story just like anything else. In movies, you have sound effects, in books you can describe the noise, in comics we have sound effects. Yes, they can be done campy, but done the right way, they can add to the storytelling.

Why limit yourself?

From: Warren Ellis (WARRENELLIS) [#43]
 1 Nov 2005
To: ALL

Chris gets extra for lettering sound effects.

From: R. D. HALL (RDHALL) [#44]
 1 Nov 2005
To: Truckosaurus (TONYMOORE) [#41] 9 Nov 2005

"that said, it can be overdone. too much is too much. like setting the homeless on fire, they should be done judiciously and in moderation."

But Tony, I just can't stop setting the homeless and drifters on fire. Can you help me? Is there a support group for this sickness? :B

From: Mark Sweeney (SWEENEY) [#45]
 18 Jun 2006
To: ALL

I love sound effects, when they're well done, like American Flagg, Walt Simonson's Star Slammers and Dark Knight Returns.

But, in some cases, it seems sound effects are used to prop up poor art or storytelling.

When the artist(s) does great work, sound effects are pretty unnecessary.

I wonder how often sound effects are added after the art is drawn and inked?

From: Shon C Bury (SHON_C_BURY) [#46]
 18 Jun 2006
To: ivan brandon (IVAN) [#1] 19 Jun 2006

sfx can be cool, but too much is a killer. and so old school. my rule of thumb is the same as warren's, if the picture tells you what's going on...why bother with a potentially goofy sfx?

when in doubt, leave it out...people don't need every little thing spoon fed to them.

scb

From: Shon C Bury (SHON_C_BURY) [#47]
 18 Jun 2006
To: Leland Purvis (LELANDPURVIS) [#18] 18 Jun 2006

I pretty much agree with this. It's not--or maybe shouldn't be--a "no sfx" or "yes, sfx." Everything has it's place. One thing I work on with my letterers is to keep sfx--when I use them--as nothing more than visual cues for the reader that something is going on that may not be seen in the art or may be really stupid to show in dialog. Just a small, visual cue. The brain will fill in the rest.

Y'know?

scb

PS: More of a "reply all" response...

From: Shon C Bury (SHON_C_BURY) [#48]
 18 Jun 2006
To: Andy Diggle (ANDYDIGGLE) [#24] 18 Jun 2006

Lol. That's an sfx I can get behind!

scb

From: Shon C Bury (SHON_C_BURY) [#49]
 18 Jun 2006
To: becky cloonan (BECKYC) [#37] 23 Jun 2006

Totally. I just got letters back w/ a cell phone ring that was, no shit, an 1-1/2 tall! I had to ask my letterer...how loud does your phone RING?!

scb

From: Shon C Bury (SHON_C_BURY) [#50]
 18 Jun 2006
To: Chris (CHRISELIOPOULOS) [#42] unread

Exactly. Why limit yourself? Practice moderation, sure. Make it as cool as you can, sure. But why ererct a wall of don'ts?

scb

From: Michael L. Peters (MLPETERS) [#51]
 18 Jun 2006
To: Mark Sweeney (SWEENEY) [#45] 18 Jun 2006

Sound effects can be great if planned for in the art, but too often horrible, otherwise. If I use sfx, I'd rather draw it in, than have a letterer use their discretion(no offense, letterers). In one of the first comics I drew, I didn't draw any sfx, it wasn't in the writer's script and didn't think any were needed, but in one panel, where I drew a character getting punched, the letterer pasted a very "comic-bookish", "POW". It didn't fit the book's tone at all, which was aiming more toward Vertigo-ish than Adam West. I don't care if it lessens the value of the original art -- I peeled off the "POW" as soon as I got the art back.

They also chose to letter laughter as sfx, which would have been fine if done with a little style, but this was basic block computer lettering -- would have been better in a balloon.

I rarely use sfx, but did for an upcoming Heavy Metal humour piece, where I drew in a very satisfying "SPLAT". I've also done screams and other vocal noises as sfx, but most of the time, sfx work best for comedic effect.

I agree the sfx in Flagg were great and the way they were used, often filling in backgrounds, shows that they weren't an afterthought, but planned to complement the art.



From: Warren Ellis (WARRENELLIS) [#52]
 18 Jun 2006
To: Michael L. Peters (MLPETERS) [#51] 18 Jun 2006

I agree the sfx in Flagg were great and the way they were used, often filling in backgrounds, shows that they weren't an afterthought, but planned to complement the art.


Note also how, in FLAGG, the sound effects had environmental content. Carphones rang in a different way to landline phones. Fit in very well with Chaykin's "High Design" aesthetic on that book.


From: Carla Speed McNeil (SPEEDMCNEIL) [#53]
 20 Jun 2006
To: Brian Wood (BRIANWOOD) [#17] 20 Jun 2006

I still think Matt Feazell's "PLT" (the sound of a fart recorded on an answering machine) kicks a pretty big ass.

From: neil kleid (NEILKLEID) [#54]
 20 Jun 2006
To: Carla Speed McNeil (SPEEDMCNEIL) [#53] 20 Jun 2006

Let's not forget his car screeching to a halt and waiting at a light:

ERT! PUCKITY-PUCKITY-PUCKITY...

From: Carla Speed McNeil (SPEEDMCNEIL) [#55]
 20 Jun 2006
To: neil kleid (NEILKLEID) [#54] 20 Jun 2006

And 'DBDBDBDBDBDBDBDBDB,' a drumroll.

These things are all a whole lot better when paired with stick figures, though.

From: Jennifer Rodgers (JENNIFERRODGERS) [#56]
 21 Jun 2006
To: ALL

i always had a fondness for "nif nif" in Preacher.

From: Michael L. Peters (MLPETERS) [#57]
 21 Jun 2006
To: ALL

Swamp Thing's growing sounds were always fun during Moore's run.



From: Tony Lee (TONYLEE) [#58]
 22 Jun 2006
To: Andy Diggle (ANDYDIGGLE) [#26] 23 Jun 2006

quote:

I am nothing if not predictable...

Yeah - but do you really want to be known as the 'Captain America wank guy'...

I mean - that's a section in LiTG all to yourself, right there...

Edit - only realised after posting that your post was from October...

Shows I really need to go get some sleep...

From: Andy Diggle (ANDYDIGGLE) [#59]
 23 Jun 2006
To: Tony Lee (TONYLEE) [#58] 23 Jun 2006

That's my next Marvel project: CAPTAIN AMERICA: WANK GUY

From: jock [#60]
 23 Jun 2006
To: Andy Diggle (ANDYDIGGLE) [#59] 23 Jun 2006

now THERE'S truth in the title if ever i heard it...

From: Lee Barnett (LEEBARNETT) [#61]
 26 Jun 2006
To: ALL

Just curious, since this thread is about sound effects...

I was having an argument a discussion with someone about a panel in a story I wrote.

The actual script read:

"Close up on Tiller laughing and crying at the same time. He's lost it.
NO COPY"

The protagonist, I should say, is in jail. Now the artist thought he knew better (he DID in this circumstance and drew a panel that encompassed what I wanted far better than what I wrote) and drew this:



My question is: is the HA HA HA HA HA a sound effect or not?

I said it wasn't, it's merely a clever way of showing dialogue. My companion said it was definitely a sound effect.

Just curious as to opinions...

From: Dan Schaffer (DANSCHAFFER) [#62]
 27 Jun 2006
To: Lee Barnett (LEEBARNETT) [#61] 27 Jun 2006

My question is: is the HA HA HA HA HA a sound effect or not?

It's both sound effect and dialogue, isn't it? Depends how it's applied to the paper. It's ambidextrous, multifunctional, bisexual.

From: Shawn Richter (SHAWN_RICHTER) [#63]
 27 Jun 2006
To: Lee Barnett (LEEBARNETT) [#61] 29 Jun 2006

neither - straight up design element (and it looks damn cool!)....

From: Lee Barnett (LEEBARNETT) [#64]
 29 Jun 2006
To: Shawn Richter (SHAWN_RICHTER) [#63] 29 Jun 2006

Cheers - all due to the artist, Mannie Abeleda.

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