当我们第一次开始研究西方漫画创作者在“漫画生活”中以漫画影响风格工作时的功能失调状态时,我们概述了为什么北美漫画制作生态系统被打破的9个原因。在第2部分中,我们研究了“原始英语语言(OEL)漫画标签的影响。在第3部分中,我们讨论了培训差距,以及艺术学校如何为漫画中的职业生涯做准备/不做好准备。”在漫画生活第4部分,我们仔细研究了制作漫画的出版方面,包括通过Kickstarter进行自我出版和众包,出版商偏爱工作出租/图画小说改编的小说与原创作品以及前往日本在漫画祖国画漫画的非日本艺术家的就业前景。这一切都将我们带到了第5部分,这是我们在漫画系列中创造生活的倒数第二部分,我们试图解释为什么我们可以’只是让在日本工作的东西在北美工作,并尝试提出一些关于如何拍这首悲伤的歌并让它变得更好的想法。我们从五个想法开始,然后在第六部分(!)我们关闭事情还有五件事需要考虑。正如加拿大漫画创作者Svetlana Chmakova提到的那样e,北美创作者应该有灵感来自漫画,以讲述独特的北美故事。这些故事正在创作中,但是主流漫画/图画小说出版商很少发表这些故事,而漫画/漫画读者则更少购买,而想要制作这类漫画的艺术家数量则更少。如何为那些试图在今天的商业中留下自己的印记的漫画风格的漫画创作者提供可行的(付费)机会需要什么?

加拿大女王大学传媒学Essay代写:漫画生活

When we first started studying the dysfunctional state of Western comic creators working in comic-influenced styles in “Manga Life,” we outlined nine reasons why the North American comics production ecosystem was broken. In Part 2, we examined the impact of the original English language (OEL) comic label. In Part 3, we discussed the training gap and how the art school prepares for the career in the comics. In the fourth part of the comic book life, we carefully studied the publishing aspects of making comics, including self-publishing and crowdsourcing through Kickstarter. Publishers prefer novels and original works adapted from work rental/drawing novels and travel to Japan in the paintings of the cartoons. The employment prospects of comic non-Japanese artists. All of this brings us to Part 5, which is the penultimate part of our creation of life in the comic series. We are trying to explain why we can ‘just let the work in Japan work in North America and try to make some Take this sad song and make it a better idea. We start with five ideas, then in the sixth part (!) we close things and there are five things to consider. As the Canadian comic creator Svetlana Chmakova mentioned, e. North American creators should be inspired by comics to tell a unique North American story. These stories are being created, but mainstream comic/drawing publishers rarely publish these stories, while comic/manga readers buy less, and fewer artists want to make them. What do you need to provide a viable (paid) opportunity for comic-style comic creators who try to leave their mark on today’s business?

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