u/kyuhamiko

Hello again!

Thank you very much for all the replies from the last post! I have noted several feedbacks and advice that I find really helpful:

• The extreme shot in page 2, panel 2, is confusing to read.

• Flip certain panels to make them follow the 180-degree rule.

• Do closeups of important moments to emphasize the main subject of a page.

• Don't use too many patterns. Don't let characters blend with the background. Give each panel enough contrast.

• Avoid redundant panels.

I recently drew a new page, seen above! However, I drew this before I read the replies from the last post. So, I haven't applied any of the given feedback and advice. Please forgive me, I don't have my notifications turned on.

As you can see, there are still some issues from the last pages that got carried over to this new one. However, I'm unsure whether this page follows the 180-degree rule or not. Specifically, the first four panels, considering the shots from those panels change angles a couple times. I still don't quite grasp how the rule works, it's still a new concept to me.

Also, the first panel of this new page has another extreme-looking shot, like the specific panel I mentioned above. This time, it's shot in a frog-eye perspective. I'm worried if it's also too extreme, which might look confusing to some. For context, this panel introduces a new character to the story. However, only his legs are shown, before we are given full-body shots of him in the next panels. My goal with this panel is to introduce this new character in a dramatic way, to indicate his importance in the story.

My questions are:

• Can someone tell me a concise explanation of the 180-degree rule? Do the first four panels of this page follow that rule?

• Does giving each panel a shot with a different angle frequently make it confusing to read? Does the 180-degree rule help prevent this confusion?

• Is the frog-eye perspective in the first panel too extreme? Is it confusing to read? If it's too confusing, is there another way to handle this panel, while also introducing this new character in a dramatic way? If not, would you recommend drawing shots like this?

Hello! I'm new here~

These are two pages from a comic series that I'm working on.

My goal is to make a comic that uses the "show don't tell" rule to tell its story.

My questions are:

• Even without any dialogue and context, are my comic pages easy to follow?

• Is it easy to tell what my characters are doing on each panel, based on their body languages and expressions?

I love this duo, especially Higeoyaji! He's a grumpy, but kindhearted old man, who can beat the heck outta his enemies in Judo style! So cool~

As you can see, I drew both of them in matching outfits! Cute, right?

I originally posted this art on Twitter. I thought it'll be cool to post it here too! Enjoy~

Hello! I'm new here~

I recently bought a 2009 reprint of New Treasure Island, Tezuka's first published long-form manga! This was originally published way back in 1947, just two years after the second world war ended. Tezuka stated in his autobiography, I'm a Manga Artist, that the plot of this manga is a mix of Treasure Island, Robinson Crusoe, and Tarzan~

It feels surreal to hold New Treasure Island in my hands. I really love the beautiful, vibrant cover art, which was illustrated by the late Shichima Sakai! Seeing the iconic first two pages made me quite emotional! Some star system characters like Kenichi and Bukk Buku appeared in this manga, and it made me realize how old they are~

New Treasure Island inspired Shotaro Ishinomori, Tetsuya Chiba, Takao Saito, and many others to become manga artists! Even Hayao Miyazaki spoke highly of it~

Also, included in this reprint is a small booklet! It contains personal stories from the Fujiko Fujio duo and Kazuo Umezu, about the first time they encountered New Treasure Island during their childhood! It also includes a foreword by Naoki Urasawa! He stated that he was jealous of those who managed to read this manga back in 1947, lol~