2010-08-18 13:08 (UTC)
Thing about a lot of the modern Franco-Belgian work is the debt it owes to the Marcinelle school of drawing from the 40's, where action and motion were primary. Tintin, on the other hand, was much stiffer, being part of the ligne claire school, which was largely concerned with a more design-oriented type of storytelling.
These days, there's way more crossover in the styles than there used to be, but that urge toward motion still stands. Here's what could probably be one of the great uses of motion, and above all
of real-life motion I can think of:
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