Cartooning Like You Mean It

Cartooning, Teaching & Living – by Tom Hart

Fifth Obstruction: Tom’s First Draft

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Ok, to quote Bart Simpson, set your eyes on stun:


countdown – check
Five panels- check
Tanka- check (well, I could have been more disciplined with that, really studying the form and not merely adhering to the syllable count.)
it reads “HUTCH”? – check
5 Beckett references – check
2 collaged images – check (well I drew them in, but I’ll collage them in properly)

in fact, I threw Matt a few more bones:
– one more collaged image
– looping action (the last panel returns to the first of the series (when the action starts))
– tanka panels with 5 syllables have a dropped caption box, those with 7, an elevated one (though this sort of violates the idea of an “upper phrase” and “lower phrase” in the real definition.
– I am also embarrassed to say I failed at trying to make the five panels widen or shorten in size over the course of the strip. I felt like I needed equal room.

(I also regret the lack of environments here. I may try to pull one of the panels back a bit.)

This is a working first draft, but mostly done. The thing I want to work on is Hutch’s last beat- it shouldn’t be that. I have to find a Beckettian (?) way to accept something. In fact, that’s my main issue with it so far. Maybe it needs a whole sentence here.

Truth is, scouring Endgame again, this became too easy. The two dynamics in that play are far too similar to any slightly comdedic pairing. The problem was not in finding ways to bring it in, but making sure it all really means something.

If I wasn’t constrained by time (another genuine constraint here), I feel like I could have worked this Beckett angle very seriously, and I’d like to try some time.

I’ll return tomorrow to ink, etc.

Written by hutchowen

June 18, 2007 at 1:11 am

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