A week or so ago I wrote about how comics are particularly different from just about any other medium. I tried to illustrate this by showing, in the words of Scott McCloud, that “Juxtaposed pictorial and other images in deliberate sequence, (1993:8)” fine-tuning by the artists hand, and deliberate planning by the writer can use visuals carry the weight of paragraphs of exposition. Don’t get me wrong. Reading pages, paragraphs, or sentences of exposition are probably my favorite part of fiction, better in some cases that the evolving storyline. Why? Because, when it’s done well, you can see it in your incredibly opulent imagination. In comics, which we have come to agree in this blog is what a graphic novel is when it’s not being self-conscious, the burden lies heavily on the visual. In this respect, sequential art shares something with the movies. But as the prolific, acclaimed writer of comics Alan Moore says, a film moves at a predetermined pace, “…if I’m watching a film I’m trapped in the rigid framework dictated by the film’s running time. I must immerse myself in the flow of the film and hope I’ll pick up on enough of the constant flow of details to make coherent sense of the story at the end.” (2007:5). This brings to light the idea of time and how only comics, thus far, can address it in a wholly unique way. On the comics’ page as the panels flow from one image to the next, we can capture time, past present and future within the same viewspace. Ah, but with a DVD, I can go back and forth as well. Yes, but currently that is still a linear experience. I cannot see them all at the same time and because they are all in front of me on the comics’ page, I am getting a unique and particularly different experience.
Add to that the multi-modal braining that is required to interpret image and word along with the leap between panels (the gutter, the gap, the whitespace) the “closure” required to bridge what is happening from image to image is yet another example of the otherly nature of the art form. And this is by no means an exhaustive list of what separates the comics medium from the rest of narrative form — just another one.
McCloud, Scott. 1993. Understanding Comics. New York: Paradox Press.
Moore, Alan. 2007. Alan Moore’s Writing for Comics. Rantoul, IL: Avatar Press.