What makes a great fight scene? Guns, explosions, one against many and the asskicking spree that follows? All fine suggestions, but if you’re planning on creating a memorable fight scene in your own work then I would advise focusing more on purpose than performance.
Now, before I start, I just want to explain the difference between a fight scene and an action scene. In fact, a good example of a movie that distinguishes between both very well is The Matrix. The, ‘Guns. Lots of guns’ lobby shootout was an action scene. As badass as it was, it didn’t really move the plot forward. We could have skipped the entire scene and cut to straight to the rooftop and the plot would not had changed at all. It was more a spectacle – eye candy, if you will – for we the audience to engage and be blown away by. As fun as it is to watch our heroes smash through endless swarms of enemies (and it is fun) you should be concerned that while all of this is going on, your plot is remaining static.
I first knew I wanted to create comics back when I read Alan Moore’s Watchmen. It was my brothers copy and he lent it to me when I was about 12 or 13 and said, ‘Just read it. You’ll love it.’ He was right.
I’m sure you've had a similar moment when you realised that creating comics is something you should at least investigate further. What ever that moment was, I’ve got some resources here that’ll help that creative flame burn a little brighter.
Write or Wrong
The Coen brothers really raised the bar on this one. No Country for Old Men immediately earned the title of recent classic upon its release in 2007. Today I want to really sink my teeth into this movie and talk about some of the themes and character motifs that truly make it one of the modern greats.
Cormac McCarthy penned the novel of the same name back in 2005, and the movie follows the same basic beats as the book does – although many scenes are expanded upon in the novel, of course. It’s a Neo-Western, and like all great westerns the plot follows a big bag of money and those who want it. We follow Llewellyn (Josh Brolin), are huntsman from rural Texas who while tracking a deer through the desert along the border with Mexico, he stumbles upon a drug deal that went majorly wrong.
Fantasy and Sci-fi fiction is full to the hilt of an incredible array of fictional races and species. Elves, Dwarves, Orcs, Merfolk, Clingons, Ewoks and all the others we can think of. Today, I want to strengthen your worldbuilding forearms with a few bits of advice on how to handle creating new species from scratch and expanding on their origins.
Creating an entirely new race is a fantastic way to project a societal moral into your story. The Vulcans in Star Trek, for example, had no capacity for emotions and thus were ever logical – even to their detriment. How would such a personality conflict with the emotive human race?
The possibilities for these kinds of questions are endless, but whatever you decide to use your species for in your story, you are going to need to know how they got there in the first place.
Today, folks, I want to take you down to the lowest level of Hell for you to witness the imagery that could only be conceived by the twisted genius of this man's magnitude. He has been lorded across the west as being the, ‘Japanese Clive Barker’ a title he truly has earned, but his work is in no way derivative of his.
I want to take you into the macabre world of Junji Ito.
Junji Ito was born in the Gifu prefecture of Japan in 1963. He was inspired from a young age by both his older sister’s drawings and the work of Kazuo Umezu. Ito first began writing and drawing manga as a hobby while working as a dental technician in the early 90’s.