Olen samaa mieltä, ainakin jos arkisarjakuva käsitetään laajasti. Suosittelen muuten Scott Adamsin ohjeita kaikille aloitteleville strippipiirtäjille: http://www.dilbert.com/comics/dilbert/news_and_history/html/how_to_become.html
Dilberthan on sarja arkielämästä :-) ja toimii melko hyvin vielä näinkin pitkän ajan jälkeen... ainakin jos istuu päivät toimistossa.
Hmm.. Adamsin ohjeethan menivät oikeastaan päinvastoin kuin tässä ketjussa mainitut
Tiivistettynähän tuo meni: Älä tee sitä mikä naurattaa itseäsi, vaan mikä naurattaa muita. Nojoo... ehkä voisi sanoa, että se mikä naurattaa tekijää, ei välttämättä naurata muita -> mutta toisaalta: jos ei viihdytä itseään, tuskin viihdyttää muitakaan. Sanoisin, että hyvä strippi uppoaa yleiseen tajuntaan, mutta sisältää myös tekijän oman näkökulman, joka tekee sarjakuvasta ainutlaatuisen.
Ja se toinen ohje: "kirjoita ytimekkäästi" on tietysti tärkeä.
Seuraavanlaisia ohjeita aloitteleville strippimaakareille tarjoilee King Features Syndicate:
First, we look for a uniqueness that reflects the cartoonist's own individual slant on the world and humor. If we see that unique slant, we look to if the cartoonist is turning his or her attention to events that other people can relate to. Second, we very carefully study a cartoonist's writing ability. Good writing helps weak art, better than good art helps weak writing. Good art is also important. It is what first attracts readers to a comic strip. We look to see that your art is drawn clearly and with visual impact. We want our comics to be noticed on a page. Finally, we look for your ability to sustain a high level of quality material. We want comics that readers will enjoy for years and years.
...
The single best way of improving your chances for success is to practice. Only by drawing and writing cartoons do you get better at it. Invariably the cartoonists whose work we like best turn out to be those who draw cartoons regularly whether anyone sees their work or not. Another key to success it to read a lot. Read all sorts of things — fiction, magazines and newspapers. Humor is based on real life. The more you know about life the more you have to write humorously about.
...
[Cartoonists] often place too much emphasis on coming up with a novel character or setting. A strip starring a giraffe won't get critical acclaim just because there's never been a giraffe strip before. Humor is the most important element of successful comic strips, followed closely by well-defined and interesting characters. In many cases, aspiring cartoonists develop too narrow a premise. Syndicated comics are meant to last for decades. A cartoon about a character who always falls asleep at the wrong time or talks about just one topic day after day, will quickly get repetitive and boring. Develop characters and situations that will allow you many avenues for humor in the future.
Very few aspiring cartoonists pay enough attention to their lettering. The words need to be lettered neatly enough, and large enough, that readers can read them without difficulty ... There shouldn't be too much writing either. People prefer reading shorter, quicker-paced comics.
...Finally, many aspiring cartoonists develop comics that are too similar to already successful strips. Newspaper editors aren't going to duplicate a comic that they already print.
