By Will Eisner

El presente libro, El cómic y el arte secuencial, está basado en el renowned curso que Eisner impartió durante años en el New York’s tuition of visible paintings y contiene un acopio de sus rules, teorías y consejos acerca de los angeles práctica de narrar historias a través del dibujo. Además, el autor ha revisado y actualizado los contenidos, incorporando el uso de las nuevas herramientas informáticas y electrónicas. Por este motivo, esta obra ofrece, tanto al estudiante serio como a los profesores de dibujo y guión, una oportunidad única para profundizar en el arte del cómic de l. a. mano de uno de sus mayores maestros. Desde su publicación, este libro ha gozado de una excelente acogida en todo el mundo, e incluso se united states como fabric de referencia en universidades y otros centros dedicados al estudio del cómic, el cine y l. a. literatura

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In June 1953, when Murray Kempton wrote his review, Kelly had just made his strongest claim for adult acceptance—of which he already had a great deal—by introducing into his comic strip a menacing cat named Simple J. Malarkey, a pointed caricature of Senator Joseph McCarthy. But Kempton was not fooled. Kelly, he wrote, “is an idol among the eggheads, which is odd when you consider that he is a simple man . . ]”13 That was an overstatement, but with more than a little truth in it. All of the great comic-book creators wrote and drew for children, even if some, like Harvey Kurtzman and Will Eisner, wrote and drew for audiences a few years older than the typical readers of Walt Kelly’s stories in Animal Comics.

Good comics also required sensitivity to how each panel’s elements were composed, so that drawings and dialogue balloons were in balance, and reading the dialogue in the balloons was as natural and easy as reading type on a printed page. Panels had to lead one to another in what felt like a natural order, and with a rhythmic subtlety that made a page as a whole, and then a story as a whole, come alive as it was read. Such conditions were almost never met. It was much more common for a story to be clotted with dialogue, its balloons packed with words when words were not conspicuously absent, and for its crude drawings to lurch up and down and across the page, sometimes squeezed into as many as a dozen claustrophobic panels.

It was a trade-off that could become more attractive as sales and print runs rose. 25 Two years later, as of no. 24, the September 1942 issue, Western for the first time paid Disney a royalty on a million copies of Walt Disney’s Comics,26 and sales were continuing to rise. By 1942, Western Printing had long since opened a Los Angeles office, the better to be close to Disney and the other movie studios whose cartoon characters, in particular, were becoming increasingly important to it. Western had hired as a liaison with the studios Eleanor Packer, a widow in her early forties who had written Whitman books for years and had worked for a major studio besides.

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