By Ian Boothby, Matt Groening, Mike Kazaleh, Dan Davis
Ultimately, a comic in accordance with a television exhibit that does not suck!
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Ultimately, a comic in keeping with a television exhibit that does not suck!
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For the ladies it was “The sheik”, valentino, and for the men it was theda, the “sheba”. and today “T he femme fatale must have an exquisite form. In today's more permissive media, we can get nearly as explicit as anyone would want. She should be slinky, catlike in her movements, arched eyebrows, slitted eyes, always posturing, and—even today— smoking! She doesn't give a damn about the 'big C’ or the environment. She can be big-breasted or streamlined, or even very muscular-and therefore doubly dangerous.
However, they can be quite charming, elegant, polite—even fastidious. And deadly. Why are we so fascinated with bad guys? Maybe because bad guys come from primitive, subconscious images of evil. The things that go bump in the night-rats, bats, snakes, lizards, wolves, and spiders. If it can make your skin crawl, it can make a great bad guy. Don't be literal in transforming creepy crawlies into villains. The days of giant ants that devour a city are over. Use nightmarish images to suggest a villainous personality.
THE WINDUP Imagine that the character's punching hand weighs 50 pounds. As the windup begins, the entire weight of the body is pulled toward the punching hand. 2. THE FOLLOW-THROUGH The follow-through is indicated by the fully extended punching arm and its accompanying speed lines. Note also that the punch is shown after the point of impact. This is the key to a great punch. The point of impact is indicated solely by a starburst. " Notice how the victim is hurled back by the force, his knees buckling and his head snapping back.