Three Act Structure in Comic Strips | Strip Panel Naked | ความรู้ในการดูแลสุขภาพ

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Three Act Structure in Comic Strips | Strip Panel Naked.

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Three Act Structure in Comic Strips | Strip Panel Naked
Three Act Structure in Comic Strips | Strip Panel Naked

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ดูหัวข้อThree Act Structure in Comic Strips .

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Newspaper-style strips, those of three or four-panels, are really good ways to look at the art of structuring stories, specifically the three-act structure that you see so much in films, TV, novels, comics… everywhere. By looking at simple strips with there or four panels that tell a complete story, you can see very clearly how the three-act structure has been applied across them, and from that learn and understand the standard beats to overall storytelling.

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Three Act Structure in Comic Strips | Strip Panel Naked.

23 thoughts on “Three Act Structure in Comic Strips | Strip Panel Naked | ความรู้ในการดูแลสุขภาพ”

  1. Ok, I said I wouldn't comment anymore as I work my way through your chanel, but…
    The 4 panel strip actually follows the 3 act structure of a movie, which is more than a 3 act structure (some even describing it as 4 acts… though I don't completely agree with that), as movies follow (roughly) a 1/2/1 structure to their 3 acts. As in act 2 is usually twice the length of act 1 and 3 and is split in to 2 parts, and calvin & hobbes highlights it very well. Act 2a if you like, panel 2, is a progression of the opening, the set-up) while heightening the tension of the set up or dilema, reaching the peak in the middle as you head in to act 2b, the confrontation resulting from the opening set-up and its increased tension… ready for act 3 the resolution of everything before it…
    Jeez… this channel is a master class in comics… 😀

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  2. It’s in my view, especially with Calvin and Hobbes, that the set-up is the most important part of a comic strip, since a great set-up leads into an even greater pay-off. There’s a Calvin and Hobbes strip that’s, idk, six or so panels long, but as seen in this vid, it’s only the last two panels that act as confrontation and resolution, respectively. It harkens back to simple joke structure: set-up (no matter how long or drawn out), build up/confrontation, and then finally pay-off/resolution.

    Btw, that strip is about Calvin telling a story where he “role reverses” humans and deer (where the deer hunt humans) for a class presentation of some sort.

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  3. @4:33, I'd love a look at one of the "pun" gags from Pearls Before Swine. It's usually about 6 panels of confrontation before a single resolution. The joke is in the convolution required to hit the punchline.

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  4. I do a four panel comic on my website. I never really considered how the set-up and conflict were depicted within the three-act structure. Now I'd like to see a follow-up for Sunday strips.

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  5. My big takeaway from this video is that even in its simplest strips, Calvin and Hobbes truly was a cut above your average newspaper comic in terms of sheer craft.

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  6. 2:11 The repeated nature of visuals is actually important trick in comedy. By presenting several pieces of similar information, and then changing it the most at the end – you draw attention to that last part, this accentuates the punchline. That, for example, is why the infamous Ctrl Alt Del "Loss" strip is unintentionally funny – it presents us with three similar panels and a different final one ("punchline"), creating humor.
    Similar techniques are often used in comic books, you will often see where a visual gag will be represented by a string of similar (or even copy-pasted) panels followed by a final punchline panel that is visually distinct.

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  7. Thank for this! Been lovin’ your chanel.
    I think it is very effective to take ‘small scale’ examples to explain these kind of ‘big scale’ things and this was a great take on it. I would be great to take this version of three act structure analysis and apply it to another common comic book phenomenon, namely short story lines. Like the three issue stroylines the (used to) make. Some early nightwing stuff comes to mind.
    If you have three issues to tell your story it would make sense to follow the same structure, but what happens when it’s four, five, or I don’t know, twelve issues.
    Also it is interesting to see that Waterson stretches the ACT ONE bit, while if you read some stuff on screenplay (Syd Field anyone) it basically says that ACT ONE is actually usually the shortest part (if I’m remembering correctly).
    Anyway, keep it up!

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