Alan Moore - Como Escrever Estórias Em Quadrinhos
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1 COMO ESCREVER EST\u00d3RIAS EM QUADRINHOS
1
Por Alan Moore, publicado originalmente em The Comics Journal #119 (Janeiro de 1988),
#120 (Mar\u00e7o de 1988) e #121 (Abril de 1988).
Parte 1
N. do T.: Para esta primeira parte, \u00e9 interessante que vocL tenha B mno, se poss\u00edvel, a e
edi\u00e7no Monstro do P\u00e2ntano, Volume 1, publicada recentemente pela editora Brains
entno as antigas edi\u00e7tes de Novos Titns e Superamigos, publicadas pela editora Abril, com a hist\u00f3rias do Monstro do P\u00e2ntano; V de Vingan\u00e7a, da editora Globo ou da Qualquer edi\u00e7no de A Piada Mortal e edi\u00e7tes de Love and Rockets.
A maior dificuldade de escrever sobre qualquer atividade criativa, seja escrever sobre ela
mesma at\u00e9 escrever sobre como consertar autom\u00f3veis \u00e9 que, na maioria das v
ou entrevistas que surgem parecem ser incapazes de se estenderem al\u00e9m de informa\u00e
t\u00e9cnicas \u00f3bvias e listas de instrumentos recomendados. Nno quero recair nessa mesm dizendo qual m\u00e1quina de escrever eu uso, ou qual tipo de papel carbono acho ser o melhor, j
que esta informa\u00e7no nno far\u00e1 a menor diferen\u00e7a na qualidade do que vocL es maneira, nno acho que uma an\u00e1lise precisa do meu processo de trabalho seja muito \u00fa
imagino que ele varia drasticamente de hist\u00f3ria para hist\u00f3ria, e que todo escritor tend desenvolver sua pr\u00f3pria abordagem em resposta a suas pr\u00f3prias circunst\u00e2 Al\u00e9m disso, nno quero produzir nada que lembre, nem remotamente, algo como
M\u00e9todo Alan Moore de Escrever HQ\u2019s\u201d. Ensinar gera\u00e7tes de novos artista
copiar a gera\u00e7no que os precedeu foi uma id\u00e9ia est\u00fapida de uma \u00e9poc seu livro O M\u00e9todo Marvel de Desenhar HQ\u2019se seria igualmente irrespons\u00e1
instruir escritores novos ou experientes sobre como escrever t\u00edtulos idiotas e extravagantes tipo "O Alvorecer Transformou O C\u00e9u num Matadouro" ou algo assim. John Buscema foi um
grande artista, mas a ind\u00fastria nno precisa de cinq\u00fcenta pessoas desenhando como el ainda de outros cinq\u00fcenta escrevendo como eu.
Com tudo isso em mente, gostaria de tentar expor algo que acrescente a este extenso
cap\u00edtulo sobre como podemos realmente pensar sobre a arte de escrever quadrinhos, que
melhor do que uma lista de detalhes espec\u00edficos. Gostaria de falar sobre abordagens e proce mentais que dno suporte a escrita como um todo, ao inv\u00e9s de falar sobre o modo como esses processos sno finalmente colocados no papel. Da forma que vejo a situa\u00e7no, o modo como
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pensamos ser o ato de escrever inevitavelmente moldar\u00e1 os trabalhos que produzimos.
Como nossos pressupostos b\u00e1sicos sobre a nossa profissno vLm se tornando cada vez
O motivo pelo qual escrever para os quadrinhos seja talvez at\u00e9 mesmo mais interessant
Ao buscar um melhor lugar para come\u00e7ar, talvez seja interessante come\u00e7ar por
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close-ups, long-shots, zooms e panor\u00e2micas;
\u00e9 uma \u00fatil linguagem convencio instru\u00e7tes visuais precisas, mas ela tamb\u00e9m nos leva a definir os valores quadrinh\u
Quadrinhos tamb\u00e9m sno vistos em termos liter\u00e1rios, ambicionando tra\u00e7
Para piorar as coisas, toda vez que se usam t\u00e9cnicas de outras linguagens, h\u00e1
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esquecendo que Eisner estava aprendendo com a cultura que o cercava naquele tempo. Cinema
Melhor que agarrar-se nas similaridades superficiais entre quadrinhos e filmes ou
Se, por um lado, acreditava-se que a garantia de maior liberdade criativa ou a divisno do
Uma vez mais, a dificuldade é saber por onde começar. A lista de consideraçtes a serem
A idéia
é
aquilo sobre o qual a história trata; nno
é
nem a trama da história, nem o
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exemplo do meu próprio trabalho (nno porque ele seja particularmente um bom exemplo, mas
De onde as idéias realmente vLm parece ser, B primeira vista, a maior preocupaçno da
é tambémaquestnoquemaistLmpermanecidosemresposta.Seameaçassemmetorturarpara que eu desse uma resposta concisa, provavelmente diria que as idéias parecem germinar na
Torna-se um problema de mudar sua percepçno para notar pequenas circunstâncias
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divertido. Minha tese é que vocL nno pode ensinar as pessoas a terem a mesma percepçno e
é reduzido a uma únicaenovacoisaadizerousobreaqualfalarVistodamaneiracerta,tudose . transforma em uma fonte de idéias. Abrindo o jornal na página de economia e lendo sobre a
De outra maneira, talvez alguns incidentes do nosso próprio passado providenciarno o
Usando esse medo infantil irracional como trampolim, seria possível alcançar talvez um
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tirados da manga das formas pelas quais as idéias aproveitáveis podem ser conduzidas. Eu deveria talvez assinalar que, ao construir uma história, nem sempre
é preciso
Monstro do Pântano... talvez ter parte de sua perna ou de seu corpo vis ível no cenário de tal
modo que tanto o leitor quanto os outros personagens nno percebam que estno olhando para a
Outra idéia que tive, ao mesmo tempo, envolveu o modo de trabalhar dos outdoors
Burma Shave, cuidadosamente espaçados e rimados, usados para percorrer ao longo das
estradas da América numa seqüLncia de letreiros rimados de tal maneira que a última linha da
Matt Cable, eu o peguei e joguei numa cena de desastre de carro. O fato é que tive de manter as
seqüLncias guardadas na geladeira até ter uma idéia para as histórias que as completariam.
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qual a mensagem se dirige. Obviamente, uma vez que estamos falando sobre audi Lncia em
Eu tive ao menos um editor do ramo dizendo que nno há sentido em tirar da alienaçno ao
Há algo estranho em ser ofensivamente inofensivo, e, uma vez que nno estou sugerindo
quadrinhos", e menos pessoas ainda que demonstrem ser realmente convencionais quando
examinadas mais de perto. Um meio de comunicaçno tno pequeno como este tem realmente um padrno significativo que possa ser definido a partir de seu público? Na minha opinino, a melhor maneira de lidar com o problema
é deixar o material
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úteisparabasearnossopensamento.Umdeles é a banal mas sempre criativa piada. Piadas nno sno, em geral, dirigidas a um público específico; elas apenas acontecem!
Pensando sobre um processo geral básico que afete um amplo espectro de seres
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possibilidade delas sentirem o mundo nesses termos. Também sei que, se estivesse naquela
Aquilo nno
é uma nobre causa, incrivelmente fácil de ser encarada, mas é o tipo de
Muito bem, agora entno nós temos nossa idéia básica e, ao menos, alguma noçno do
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é quevocLentendaaestruturadotrabalhoqueestá criando,sejaqualforaestruturaquepossa
vir. Se vocL escolheu desviar-se do assunto, entno tudo bem, apenas enquanto vocL estiver atento ao que está fazendo e atento Bs conseqüLncias no efeito global da história. Algumas estruturas sno
óbvias e evidentes por si só. Uma que eu uso muito,
Paper em SWAMP THING n.º 36. Aqui, temos uma história inteira contada por cada
personagem, dependendo do quanto da açno central aconteceu com eles, individualmente.
Ainda assim, todas essas sno estruturas formais e nno há razno pela qual escritores de
últimos anos, alheios ao mercado corrente de quadrinhos, nós encontramos formas de
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que toma lugar entre esses dois pontos. Essas sno todas elas abordagens válidas e, olhando para
Neste ponto, talvez eu deva sublinhar que, muito embora esteja apresentando estas
Agora que temos alguma idéia sobre estruturas, o próximo passo é considerar o próprio
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provavelmente vocL se arrisca a perder o interesse do leitor se nno for trabalhado adequadamente.
Como eu vejo, uma história bem sucedida de qualquer tipo deve ser quase como uma
Uma coisa importante
transiçno entre as cenas
é
que o leitor nno acorde até que vocL assim o queira, e a
é o ponto fraco do encanto que vocL está tendo um trabalhno para lançar sobre ele. De uma forma ou de outra como escritor vocL tem que vir com seu próprio
Um que tenho usado em excesso, a julgar pelos comentários que colhi em revistes ou em
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perceber qualquer quebra no fluxo até que o momento tenha passado e o leitor já esteja
Transiçtes, embora importantes em si mesmas, podem tamb ém ser consideradas como
parte de um tópico geral sobre espaçamento ou compasso. O compasso, apesar de, quando
palavras
levará talvez cerca de sete a oito segundos
para ser lido, dependendo da
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que foi dito acima nno sno regras rígidas ou de fácil assimilaçno: tenho certeza que é possível
Experimente a noçno de sincronia e veja o que acontece. No episódio 100 Rooms da
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N. do T.: Para esta segunda parte, tenha B mno, se possível, novamente as ediçtes Monstro do
Pântano, Volumes 1e 2, publicada recentemente pela editora Brainstore, as antigas ediçtes de
Admitindo que agora vocL tenha alguma idéia das reais possibilidades abertas para vocL
Por razno de conveniLncia, os principais elementos nessa categoria podem ser divididos
O trabalho do(a) escritor(a), se ele ou ela estiver tentando descrever uma col ônia em
óbvioparafazerisso é explicarosrudimentosdeseumundoparaseusleitoresatravésde legendas com textos explicativos ou diálogo expositório, mas para mim é também o método
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sua maior parte feito de gás exigir um certo número de ambientes artificiais flutuantes ligados
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quer que saibamos perfeitamente como ele pensou em tudo. Em vez disso, temos a sensa çno de
Os comentários acima referem-se especificamente em criar ambientes, mas se vocL
do Pântano, comecei a ler sobre a Louisiana e o bayou tanto quanto pude e consegui colher,
através de um árduo trabalho, conhecimento de sua fauna e flora e do lugar em geral. Sei que
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história, e
é tno importante o
efeito final quanto um entendimento dos verdadeiros fatores
físicos que moldam o mundo sobre o qual vocL está escrevendo.
Certo, entno temos nosso próprio mundo. Que tipo de pessoas vivem nele e o que
pessoa é boa ou esta pessoa é má. Para os quadrinhos da época e o mundo comparativamente
simples ao qual eles eram destinados a entreter, isso era perfeitamente adequado. Mas, por
sorte com garotas e esta pessoa é má mas pode redimir-se e juntar-se aos Vingadores caso um
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fez travar uma guerra contra o crime (N. do T.: Se vocL se deu ao trabalho de contar, verá que a
traduçno descreve um personagem de MAIS de 15 palavras, mas como quis manter o texto o
mais perto possível do original, acho que vocL entendeu o que Moore quis dizer com um
personagem de 15 palavras, certo?). Apesar desse modo representar o início de um
personagem com o qual vocL pode perfeitamente trabalhar, a tendLncia parecer ser a de que o
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real. Considere a natureza do modo de ser das pessoas ao seu redor e considere também sua
É
importante olhar para como as pessoas de outras
áreas resolvem o problema da
verossimilhança. Um artista que quer aprender a desenhar realisticamente o corpo humano
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tipo de intensidade ardente em seus pensamentos e açtes junto com uma massa corporal esmagadora, como resultado de sua compacta densidade.
Percebi que nos esboços originais de Steve (Bissete) e John (Totleben) para o
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personagens negros, ou personagens femininos? Teoricamente, claro, deve ser mais f ácil
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dimenstes. Usando um exemplo que emprestei do excelente Report on Probability A, de Brian Aldiss, vamos pensar sobre outras coisas além de quadrinhos para termos uma perspectiva diferente da idéia. Consideremos uma pintura específica, The Hireling Shepherd, do pintor pré-rafaélico Willian Holman Hunt.
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dentro da conversaçno com o carismático pastor assalariado, a mulher encontra-se igualmente
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de Locas Tambien e Mechanics de Jaime Hernandes, temos a sensaçno de toda uma massa
Palomar durante um período de quinze ou vinte anos de tempo da história. Vemos Jesus,
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pequenos uma cena onde elementos Vigiestranhos lçasubliminares nteeefaFever noou dirigindo aumentar pela nnecess o enormemente cidade enquanto oatingir divertimento Fever dá uma perif lise çéde nrico o dedo seja um painel com uma legenda com longas çtoes. Mesmo sua necessite de mudan as, çadetalhes osest úque ltimos ajustes ários paradescri grau exato leitor moral pela improvisada ória. eCom algum um pouco modo de abrangente imagina nsobre o, é aposs os ível inserir da autoridade e seus eventos que habilidade como desenhista t no pequena minha, é mais fpequenos ácilédesenvolver uma lapida çno.hist Suas hist óde rias emseja quadrinhos estnquanto oçagora tn o males boas quanto lhe poss ível ,efeitos e voc L irá ocorrem sobre a sociedade. emlongos primeiro Como e segundo opara carro plano move-se em atrav uma é imagem, s da aparentemente pedide aocada Jim Baikie nenhuma para incluir sensibilidade visual habituando-se fazer um esbo ç ocidade, grosseiro psem ágina antes esperar por meses ver oaque os leitores acharam dela, que geralmente é de um tempo relev algumas âchato ncia pequenas com a hist e discretas óos ria subliminar, cenasvisuais em mas refor ç plano ando as mostrando idéias da autoridades prcada ópriaquadrinho. narrativa. em açVoc nç Ser o. escrev L -la, mostrando elementos que ser nexperimentando o mostrados em Lá irá muito e irritante. Voc L encontrar ásegundo a si mesmo violentas mudan asEm de
í
ô
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situa çteshist pertinentes falhado em explicar as coisas o claramente eu gostaria. Isso a com uma ória apóse faz L-la da melhor maneira quetnpudesse, eu mequanto encontraria confinado porque o campo escrita, como qualquer trabalho nodas qual vocL Shops dedica-se completamente, uma preocupa çnda o obsessiva até v L-la nas prateleiras Comic e perceber que mais é tansiedade no amplo eseria complexo para aprofundar-se que mesmo um cansativo discurso como esse pode inútil. apenas começar a arranhar sua superfície. Há coisas que omiti com essa pequena explanaçno,
ú
á
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primeira parte desse texto de Moore, com uma excelente traduçno de ..., muito mais interessante por apresentar preciosos cometários que eu, por nno possuir a experiLncia e astúcia necessárias, nno adicionei em minha traduçno. Espero que as partes 2 e 3 sejam logo divulgadas (e comentadas) por ele.
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