Establishing Shots
Do you use them frequently? When you first introduce a new location, or EVERY time you visit that location? Are you a fan of tailless dialogue balloons over the establishing shot scene? Do you frequently caption the establishing shot to aid in identifying the location?
I do use them pretty often, but I've been known to discard them if I want the first panel of the page to open with a close shot of surprise action. In the second panel, I can then pull out to reveal more of the scene. It's not exactly an establishing shot, and it does disorient the reader, but it rewards them if they pay close attention.
It helps that Michael is an awesome background artist, so showing these steampunk and cyberpunk cities is not a drawback. That being said, the weaker your artist is at lavish, detailed backgrounds, the more writers tend to shy away from establishing those backgrounds.
Comments
And when I do use establishing shots, they aren't always of the exterior. In Luther Strode, for instance, we don't see the exterior of Luther's apartment, nor do we ever see the exterior of where The Bound are kept. In either case, there is an establishing shot, but it's an interior shot. For Luther's apartments we didn't need an establishing shot, and for the Bound, it's meant to be obscure.
Which is my philosophy on them in general. If they're conveying information the reader needs to know, I am all for the, In a lot of cases, the stuff establishing shots establish can be inferred. There is a school of thought (Jim Shooter subscribed to it) that you use an establishing shot to draw readers into the scene, whether you need them or not. Obviously, I don't agree.
Even more than a smart writer, it takes a smart artist to pull off a scene sans establishing shots.
As for tailless balloons, I am with Brandon: if the speaker is in the room, there is a tail. Otherwise, who the hell is speaking? God?
I would disagree with Russell and Brandon though about tailless balloons being to hard to identify. If you are writing identifiable, distinct dialogue that has a logical flow to the conversation, then the reader should be able to track the speakers for a short spell; just as when writing prose dialogue, it is not necessary to always use "he said" "she said" for clarity. However, since I don't care much for off-panel speakers anyway, its sort of a moot point for me.
I do like tailless balloons in crowd scenes to suggest the hub-bub of conversation... and that sort of gets us back to establishing shots dunnit?
While this has been a bit of thread drift, both the shot issue and balloon issue address clarity as the underlying concern.
I do the balloon-tail-running-off-panel thing quite a bit (I just noticed there's one on that page I linked above!). I see Marv's point that a tailless balloon can do the same job. But to me there's still a small chance it will be misinterpreted, so why not eliminate the ambiguity? It's all a judgement call, of course.
(Whenever I think of bad balloon placement, "Mark Trail" always comes to mind...)