Tom and I are co-creators on a graphic novel series. Volume three has just launched in webcomic form over at www.hopelessmaine.com . For various reasons I’d not looked at it much in the year since Tom finished the art. It came as a bit of a surprise to realise how many real people and settings had crept into this one. The first chapter features the church from Purton, Gloucestershire, fellow comics creator Maxwell Vex, and Canadian Steampunk icon Lee Ann Farruga, more real people will be along later.
It is generally held wisdom with comics that the more realistic the people are, the harder it is to empathise with them. Smiley emoticon faces have the power to be anyone, and this can be a great aid to getting people into the story. Cartoons function in a totally different way to realistic representations, in terms of how they affect the mind of the viewer. From a creative perspective, this raises some really interesting questions about whether we want people getting inside or standing outside the characters.
Alongside that is the issue that the less detailed and individual the faces are, the harder it is to have something visually gorgeous going on. Elegance can be had, but not sumptuousness. You can’t have nuances of emotion in smiley emoticon faces either. The words have to do more of the work.
Hopeless is not a story full of ‘everyman’ characters where the idea is that the reader can slot their own life into the gaps. Although that said, a surprising number of people have cheerfully imagined themselves into islander roles, which is part of why more of the people we know are getting into the books. We know this from www.hopelessvendetta.wordpress.com and from reader responses. Despite the specific and individual nature of characters, people can get into this. I have theories of course. I always have theories…
Everyman faces work for simple storytelling. They work for uncomplex emotions. If you want a mix of emotions, you need more face with which to express it. You need eyes that can reshape and lips that can move, and a body shape that can express feelings. It isn’t possibly to convey all of the things human bodies and faces can convey without an image able to hold more of those details in the first place.
I think it’s also a consideration that empathy is not transference. You can feel with a person without feeling that you *are* them. I know that many people come to all manner of things just looking for affirming reflections of themselves, but not everyone does. Some people are happy to look outwards, to consider unfamiliar emotions and ideas, to put themselves in shoes that are not their own. If your capacity for empathy depends on being able to see yourself in whoever you’re looking at, then simpler cartooning is your friend. If what inspires you to empathy is seeing someone else’s humanity, then perhaps more involved art isn’t going to alienate you from the story.