Gamasutra: The Art & Business of Making Gamesspacer
Comics vs. Games: Thinking Outside the Panel

Printer-Friendly VersionPrinter-Friendly Version
View All     RSS
April 16, 2014
arrowPress Releases
April 16, 2014
PR Newswire
View All





If you enjoy reading this site, you might also want to check out these UBM TechWeb sites:


 
Comics vs. Games: Thinking Outside the Panel

August 3, 2012 Article Start Page 1 of 4 Next
 

Steve Manale admits he is not much of a "game guy." He owns a Wii, and somewhere he might still have an old Gamecube he managed to spill paint on. He works with lines all day, but they're filled with colors, not code.

The Toronto-based artist might still be surprised as anyone that he can now claim co-creatorship of a video game among the accomplishments of his career.

We're No Angels, one of five games made through the Comics vs. Games project, is a collaboration between Manale and veteran game developer Jamie Fristrom. A twin stick shooter with notes of Gauntlet, it pits died-too-young rock stars against Heaven's armies as they try to flee an eternity of private performances for God.

Not only is Manale responsible for the stylized figures of Elvis, Tupac, and other characters that flit about the screen, he came up with the concept for the game itself. Fristrom took the idea and pieces provided and made them move, shaping the gameplay and adding new elements and perspectives as inspiration struck.

It would be somewhat romantic to suggest Manale always had We're No Angels in the back of his mind and wanted to present it as inspiration for a game -- a Doug TenNapel with Earthworm Jim kind of story. The truth is that Manale says he never previously recognized how the style and ideas that inhabit his work in magazines and editorial cartoons could cross over into a more interactive medium.

"I design a lot of comics and have done a lot of comic strips and comic characters over the years," Manale said. "It has never once occurred to me, 'Hey, these characters might translate well into game form.'"


We're No Angels

Part game jam, part social experiment, Comics vs. Games joined independent game developers with comic artists to explore what potential lies in their combined creative powers -- and beyond their comfort zones.

Community Awareness

Toronto is a city blessed not only as a hub for independent art and design talent, but also with organizations vested in seeing them grow and succeed.

TIFF Nexus, an initiative of the Toronto Independent Film Festival, started up in September 2011 as a sort of molecular gastronomy lab for multimedia, seeking to identify the elements that make the region's game, digital, film and other artistic communities great and blend them into tasty new concoctions.

"It's designed to equip a new generation of Ontario's storytellers with the network, skills and partners to help us succeed in sort of the rapidly evolving digital media landscape -- this trans-media universe -- that we are living in," said Shane Smith, director of programs for TIFF Nexus.

When the organization approached Miguel Sternberg, co-founder of the Toronto game makers' coalition The Hand Eye Society, to organize a project for its first phase of events, he thought back to the "artxgame" gallery and exhibition he had witnessed in San Francisco three years earlier. Similar developer/artist collaborations could also be made on the opposite side of the continent, he believed, but there appeared to be too few people forming links between the scenes. The indies were being, well, rather independent, and what possible content comic artists could contribute to game design aside from occasional requests for art was going largely untapped.

"Here are these two really interesting creative communities in the same city that are both doing their thing really well," Sternberg said, "but they're not really talking to each other when they could be."

For Comics vs. Games, Sternberg sought out five independent game developers and five comic artists who either lived in or had ties to the Toronto area. Paired into five teams, they were given simple rules: design a game in three months. Multiplayer games were largely encouraged for showcase purposes, but not mandatory. No quotas for gameplay elements or "artistic merit" were established. Whatever teams made were the culmination of their own decisions, leading to some interestingly varied results.


Article Start Page 1 of 4 Next

Related Jobs

Giant Sparrow
Giant Sparrow — Santa Monica, California, United States
[04.15.14]

Game Designer
Nintendo of America Inc.
Nintendo of America Inc. — Redmond, Washington, United States
[04.15.14]

Associate Software Support Engineer
Nintendo of America Inc.
Nintendo of America Inc. — Redmond, Washington, United States
[04.15.14]

Software Support Engineer
Nintendo of America Inc.
Nintendo of America Inc. — Redmond, Washington, United States
[04.15.14]

Software Support Engineer






Comments


Brian Tsukerman
profile image
Sounds like an amazing combination to me. Plus, it really shows how a games feel depends on the type art used, whether it be more "gamey" through the use of pixels in Brigandage or the "stylized" approach of The Yawhg.

On a side note, what's with the "yawn" in the middle of the word "entered"? Is that a subtle jab at Fantastic Fest, or were you so sleepy that you actually typed out your yawn mid-thought?

Christian Nutt
profile image
No idea what happened there. Probably just a mistake when I had the document opened but was trying to be sarcastic in an instant message window but failed to move the cursor. =P It's been fixed.

James Coote
profile image
Using pixel art misses the point of comics. You have the opportunity to use a unique visual style, but instead do what every indie and his dog is doing.

Comics are underused as a cheap alternative to CG cut-scenes for story telling in games. I loved their use in Max Payne and Homeworld.

There is so much overlap between comics and games. The audience, the themes, the visual nature of the media. I can't understand why we don't see more collaboration, as I think there is a lot of sub-conscious cross-pollination of ideas between the two already

[User Banned]
profile image
This user violated Gamasutra’s Comment Guidelines and has been banned.

Emppu Nurminen
profile image
One huge problem is thought that sequential art is ridiculously stagnant medium compared, say, video. Also, being narrative medium does limit how you are able to use sequential art or parts of it in games, though it would be cool to see it more in games. That brings down the issue that whole design process should be started of understanding the sequential arts rather hoping some poor comic artist is able to contribute it by taking part.

David Marcum
profile image
Strange mixing Comics with games in what we've been working on. This is a teaser for it.

http://youtu.be/Xb1_XiBZtDM

Glen McLeod
profile image
cant wait to play these games plus that music was great!

David Marcum
profile image
If you are referring to the music on the teaser, thanks. If not then I've just embarrassed myself... again. :)

jogos free online games
profile image
I don't understand your rationale for denying "left turn" from being categorized as a mechanic. Seems arbitrary. Too small of an action? Aren't there atomic mechanics and aggregate mechanics? I would argue that "left turn", "right turn", "brake", "accelerate", "reverse" were all atomic mechanics, and "drive vehicle" is an aggregate mechanic made out of the atoms. Moreover, "drive" could vary dynamically if your vehicle was damaged, so that you might lose the ability to turn left, or brake.

Michael Levine
profile image
check our comic game in the works for Usagi Yojimbo (we will use some comic cutscenes!)
www.usagiyojimbogame.com

[User Banned]
profile image
This user violated Gamasutra’s Comment Guidelines and has been banned.


none
 
Comment: