J.M. Matthews: August 2017

A.D.D. - Action. Description. Dialogue. All Fiction Writing in any form can be reduced to these three elements.

Action - Movement, Motion, Violence, Conflict. Raw Plot

Description - The Poetry of visualization and narration. Metaphor and visual summary

Dialogue - Characters gotta speak. Conveying inofrmation that can't be conveyed by the other two

And that's how I write my fiction stories. It's easy when you break it down into a formula.

Monday, August 21, 2017

Rank: The Most Influential Creators In North American Comics, According to Social Media Metrics

The Most Influential Creators in North American Comics social media

(Based on Klout Scores, 1 - 100)

Monday, August 14, 2017

The Phantom, And the Voice on the Phone by J.M. Matthews on Scribd

Sunday, August 13, 2017

The Pulp Chronicles - Kill Count by J.M. Matthews on Scribd

Saturday, August 12, 2017

End Times - The Pulp Chronicles - The Crimson Valley by J.M. Matthews on Scribd

The Fable by J.M. Matthews on Scribd

Wednesday, August 9, 2017

The Greatest Graphic Novel Masterpiece J.M. Matthews has ever made in his life: I give it 1-Star. Terrible. Ce La Vi

My 1-star 41 page Graphic Novel bande dessinee hardcover Tome, is jam-packed with everything I've ever hoped to get to see in a comic book, to the point of almost 50% of my graphic novel being comprised of aspect shots. Out of the 41 pages of narrative art, 20 of the panels in those pages were aspect shot. The majority of them almost, if not half of the pages. It's the first American comic to go the Maya Deren aspect shot route on a more extensive basis, perhaps to its detriment. None of my Amazon reviewers seemed to even pick up on that aspect and instead labeled my intensive theoretical effort “amateurish” and “lazy”. But the execution, although widely ignored by my readership and reviewers on Goodreads and Amazon, lived up to my expectations and went well beyond them. I'm thrilled with how End Times: Blaque As Hell turned out. It's a graphic novel that uses more aspect shots, or aspect to aspect transitions than any other American comic book has in the history of American comics.

Storytelling Self-Sabotage: Aspect Shot Overkill

Aspect-To-Aspect. In my 20s that was all I wanted to draw. Until it took over my entire panel transitioning style.

That was the mistake I made. I used aspect shots too much, to the point where it's been interfering with my comic book storytelling ability. Even One Piece uses fewer aspect shots than I do.

The transitions I need to make happen are:

Moment-to-Moment
Action-to-Action
Subject-to-Subject
Scene-to-Scene

Too many aspect shots interferes with the storytelling. It looks cool, but should be used sparingly in my storytelling arsenal. I've gotten so good with avant-garde aspect shots, I just assume that's the kind of shot I'm going to draw, when it shouldn't be automatically or necessarily, just every so often.

To be honest, in my early minicomic days, I could easily tell a story. I didn't use any aspect shots. But I was so obsessed with aspect shots, those types of camera shots made the style of storytelling I was using too abstract, to the point where I had abandoned moment shots and action shots entirely. Even Hiroaki Samura uses SOME moment and action shots.