Fisher: The hell?! Get out of my car, man!
Jake: Can’t! Drive!
Fisher: You wha–
Jake: reaches over to stomp gas pedal
Fisher: grabs wheel, knuckles white
Fisher: Are you insane?
Jake: leans out open window Not today, cupcake.
Jake: relaxes back in seat Hey, guy. Thanks for aiding my escape back there.
Fisher: sarcastic Oh sure, no problem. Mind telling me what you’re escaping?
Jake: You wouldn’t believe me.
Fisher: You’re probably right.
Jake: beamish smile, looks around self
Jake: Nice car.
Fisher: blink Er… Thanks?
Jake: So where’re we going?
Fisher: Dude, I don’t even know. You just hijacked my car and now I’m going north.
Jake: That’s all y’all got for me.
Fisher: Now you’re gonna start making demands?!
Jake: Nah, I’m not the demanding type.
Fisher: Aside from shrieking “DRIVE” at a total stranger.
Jake: Special circumst–whoa hey hey! I do not shriek.
Fisher: inclines head Yeeeah your voice got a bit high back there.
Jake: Did not.
Fisher: Oh, it absolutely did.
Jake: I have a high voice, okay? I’m a tenor.
Fisher: Is that a musical term for, “I shriek when I get tense?”
Jake: frosty tone No.
Fisher: Relax. I’m sure you have a very good reason for… anything you do.
Fisher: …reasonably sure.
Jake: You got a name, guy?
Fisher: It’s Fisher.
Jake: First or last?
Jake: Never mind. My name is Jake. Last, but my first name is basically awful so I won’t tell you what it is.
Fisher: Wait, your last name is Jake?
Jake: You dwell on very minor details, Fish.
Jake: It’s not healthy.
Fisher: My name is Fisher.
Jake: It’s called a nickname, Fish.
Why do comic book editors have such big egos? They aren’t doing all that much. Except mandating and ruining things.
I wouldn’t know.
Take a guess, then.
My guess, if you’re so keen, is that the editors are exactly like the fans. They think they are in some position to know better, and few people make successful attempts to disabuse them of this notion.
…That’s a pretty depressing idea.
You did ask.
I don’t want to be in the same category as Joe Quesada…
Then stop writing essays about how much One More Day sucks.
Gonna try not to rant, because this actually doesn’t annoy me. It’s just one of those weird things I’ve noticed.
Why is it that most writers, particularly those working with a visual medium (haha, gotta love how that excludes novels), don’t take into account how long it takes to speak?
I sort of get it with comics, especially old ones from the Gold and Silver Ages. They were not exactly Proust, nor were they expected to be. The medium also invites some peculiar mechanics that became and have remained common to the point of perceived necessity.
They also do not utilise audio. Anything that does exposes the ridiculousness of this writing hiccough rather easily.
For example, take a suspense film that has made a blatant issue of time. Say, there are five minutes before the bomb goes off. Ever time that? When I was a kid, I did it once or twice. I can’t recall the film or even the situation, but I do remember an instance wherein the characters had five minutes and took fifteen to solve the conflict. In realtime, obviously.
I get that fiction time is different from realtime. Still. It’s silly.
Especially when it’s a problem due to talking. Just comparing the fixed runtime of an audiobook to the varying times it takes any given individual to read that same book in print. (Or on a Kindle, I don’t discriminate.)
Just odd. Talking can be incredibly time-consuming. Just another reason to read one’s dialogue out loud, I suppose.