[beavis & butthead]
Heh-heh . . . heh-heh . . . He said “orientation”!
[/b&b]
V for Vendetta does it during that song that V composes about halfway through for some reason.
Lord, I found that annoying. And to make matters worse, one of the landscape issues was the whuffa-whuffa walking through snow issue.
The worst part about the 360 degree conversations with Sentuous Po (sp?) stuff was remembering which way to turn pages when the comic was upside down.
thwartme
Well, someone needs to mention Gustave Verbeek, who wrote an entire series of comics, The Upside Downs of Little Lady Lovekins and Old Man Muffaroo that you turned over halfway – the art when turned upside down, told the rest of the story. See this for a panel (it flips automatically)
I loved that! The best thing was, it didn’t matter which direction around the loop you read- their conversation still made sense! I thought that clever panelling tricks like that were what saved the otherwise dull-as-hell “Now Alan Moore will explain his theory of life the universe and everything to you” bits in that comic (that and the gorgeous art!).
There is another issue of Promethea where they do this for the whole comic, turning the issue on its side in the “landscape” manner the OP describes. Allowed them to get some great “widescreen” visuals of futuristic New York.
Meh. This was one of the things that turned me off The Authority- it seemed like every second page, the artists used a double-spread or single page to showcase a “spectacular” scene. I can see what the intent was, but I didn’t think the art was good enough to justify it (it wasn’t bad, but it wasn’t that great, either), and it simply gave it a glacial storytelling pace.
Seagle and Allred’s comic Vertical, puyblished by DC’s imprint Vertigo Comics, was published, well, vertically, as a thin strip, which maximised the effect of the homage to Andy Warhol.
The comic book PvP uses this format. Both PvP and Liberty Meadows originated as comic strips before being published in magazine form.