McDuffies wrote:That would be wonderful, although I don't like to encourage people to review a comic that hasn't updated for ages.
LibertyCabbage wrote:Extra information on medieval Spain would've been a nice touch, however, sort of like how the creator of Without Moonlight elaborates on World War II-era Greece.
The table also doesn't make it clear how long the comic is, as while it has links for 143 pages, the real page count's probably closer to around 300.
Malena also makes a very reasonable point: If she really is the best swordfighter in Spain, then she deserves to be acknowledged and rewarded for it. Even her superior fighting style is criticized, however, being called "girlish," showing how resistant the society is to anything that deviates from tradition.
King Alfonso and some other characters hypocritically twist this dynamic, however, proclaiming Christian righteousness as the motivation to fulfill their selfish desires.
While Little White Knight demonstrates a great amount of skill in its writing, it's impossible to ignore the Serbian creator's major shortcomings in translating the dialogue and captions to English. Spelling and grammatical mistakes are the norm, typos are common, and practically every sentence in the comic's written in a way that's awkward and unnatural. The dialogue's also noticeably plain, and lacks the playful, stylistic flair a capable English writer's expected to deliver.
Scott McCloud has a section in his book Understanding Comics that explains why simplistic figures are easier to relate to, and this contrast encourages the reader to root for Malena's success right from her first appearance.
This is an outstanding graphic novel that's a step up in quality from the rest of the webcomics scene.
McDuffies wrote:I have a funny idea of finding someone with actual education in the field to write me an about page, a sort of like how in graphic novels there's sometimes a preface written by others.
McDuffies wrote:It's a sort of a bonus for knowledgeable, Malena fights in style that didn't exist in her time, back when swordfighting was more about straightforward test of strength and endurance and less about agility. It's a cute little anachronism but not something I'd want to flaunt at reader's face.
McDuffies wrote:I was hoping not to make any strongly antagonistic characters... to me, they were all doing what was in their best interest and operating under the mindset that is far removed from today's... medieval man acting like medieval man is not backward or anything. Like Alfonso, I wanted him to be comical and flawed, but also likeable, after all from a westerner's perspective, he was doing something good, and naturally he had to make some rough cuts... like, at the time he was one of the early rulers who favored diplomacy over war, which certainly puts him in my good book, but it's natural that most of the characters would think that he was betraying the idea of chivalry and manliness, even though I don't. But he's certainly an interesting character, that kind of persistence must have come from some peculiar emotional baggage. So, I don't know how it came out in the end.
McDuffies wrote: Sadly. But I should note that I avoided any faux-medieval flavour. To my mind, you have to have them sound to today's readers the way they would sound to an observer from that time.
Except I tried not to have any slang. That would have been silly.
McDuffies wrote:If I remember well, he postulated that simplistic art style is more intrinsically symbolic so you are more free to project to it? That was actually one part of the book that is dubious to me, that whole pyramid looks like a pure academic exercise... I think that simple artwork is simply easier on the eyes, gives you basic information instantly and with less distraction. Also people love skinny characters with big eyes.
McDuffies wrote:Shucks. I didn't expect you'd praise me that much.
His diplomatic efforts are somewhat commendable, but I get the impression it has a lot to do with wanting to avoid the responsibility of managing a war, and apparently the king's expected to fight alongside his soldiers, which is something Alfonso clearly isn't equipped for.
And as for the hypocrisy part, I don't consider it to be "strongly antagonistic," but there's a certain degree of vice involved with publicly appearing motivated by a strong sense of religious devotion, while privately showing no regard for Christian principles. Contrast this with the blacksmith, who basically says, "Poor people like me are immoral, too, but at least we don't act like we're better than everybody else." In any case, he's definitely an interesting character.
However, that isn't what I was referring to when I complained about the dialogue being "plain," and it would still be plain if you'd used a modern setting. By "plain" I mean that it does a good job of conveying information, but it lacks a noteworthy artistic, individualistic touch. Only the particularly skilled English writers do it, though, and in this case it's somewhat irrelevant in the context of the comic's huge technical problems.
McDuffies wrote:I see that you have an image of him as a right bastard, which is not something I intended. Historically, he did fight with his soldiers though, now I realize that I have never showed him on a battlefield. Sometimes I forget which chapters I finished and which I did, and I know that the later ones do show him on battlefield.
McDuffies wrote:It was medieval times though. It was times when it was commonly believed that king indeed was sent directly by god to rule the land with pretty much free range, a belief that is shared by all characters of the comic (well except those in dreams I guess).
McDuffies wrote:I guess that's one of many reasons why I chose comics instead of prose.
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