Download e-book for iPad: 100 Baddest Mother F*#!ers in Comics by Brent Frankenhoff

By Brent Frankenhoff

ISBN-10: 1440230501

ISBN-13: 9781440230509

Meet the undesirable asses, the harsh men, the fellows you don't intend to make mad. those are the fellows you'd are looking to have backing you up in a struggle. And those are the fellows who make undesirable rather a lot enjoyable. From hard-bitten heroes to vile villains - together with Wolverine, Batman, Luke Cage, Galactus, and extra - 100 Baddest Motherf*#!ers! supplies the lowdown at the down low in a full-color, absolutely illustrated, butt-kicking format.

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Extra info for 100 Baddest Mother F*#!ers in Comics

Example text

This means that there will be no vertical or horizontal lines employed because we are viewing an object at an angle; thus we have a dull slant on both sides as well as above and below the object. ) To clarify things even further, let’s view a couple of examples: first, our old friend, the box, will be viewed at an angle, floating above as if an anvil is being dropped on us like we’re some kind of cartoon coyote or something:  Right Notice the point above the horizon line, with enough distance from the piece where it complements the angle created by the two points on the horizon itself, thus creating a proper slant to the object.

Basically, the opposition has the advantage, threats have been exploited, and a momentous decision must be made in order for our characters to advance toward a final confrontation/ resolution. l Act 3: The decision made in Act 2 becomes a new call to arms, as our protagonist(s) prepare for a final showdown with the opposition (thus confronting the central conflict within the story). This will lead directly to... l ... the climax! This is the moment we’ve been waiting for since the beginning of the story, straight from Act 1!

Laying Out the Action! 45 Key Props and Scale Another key component of visual storytelling that affects the overall experience of the viewer is interactivity, or the viewer’s ability to connect with the world in which our story takes place. It can be a direct interactivity (as in games, where we move around a particular world as we ourselves evolve the story through our actions), indirect interactivity (where we connect mostly visually, as we watch a story unfold within a world that although we can’t control it, we can very well identify with it, which happens when we watch films and plays), or a combination of the two (in comics, for example, the action is set up on paper, so you read it and view it like a movie, but you also control the pace at which you read and the information that is inferred between panels, which makes you invest into the story a bit more personally).

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100 Baddest Mother F*#!ers in Comics by Brent Frankenhoff

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