Comics Panel Transitions Analysis PDF

E. M. Carroll (they/them) Canadian comics writer/artist https://emcarroll.com/ Eve Greenwood (they/he) Scottish comics writer/artist https://evegwood.com/ Discussion Ques...

E. M. Carroll (they/them) Canadian comics writer/artist https://emcarroll.com/ Eve Greenwood (they/he) Scottish comics writer/artist https://evegwood.com/ Discussion Questions 1. When reading Carroll’s “His Face All Red,” how does our reading experience change when scrolling? 2. What did you make of the main character being drawn differently than the others in “Orange Plates”? Get your mind in the gutter? The reader must “fill in the gaps” in the gutter using their imagination. (What images, words, sounds, actions should appear there?) This phenomenon of “observing the parts but perceiving the whole” (scene, images, story, etc.) is called closure. Closure “simulates time and motion.” (McCloud, Understanding Comics 63) Panel Transitions 1. Moment-to-moment 2. Action-to-action (single subject) 3. Subject-to-subject (within the same scene) 4. Scene-to-scene (crosses time and space) 5. Aspect-to-aspect (different aspects of a place, mood—outside of time) 6. Non-sequitur (no logical plot relationship between panels) 1. Moment-to-moment 2. Action-to-action 3. Subject-to-subject Panel Transitions 4. Scene-to-scene 5. Aspect-to-aspect 6. Non-sequitur Panel Transitions Panel transitions: “His Face All Red” p. 1 (top of page) “Orange Plates” p. 6 In groups What kinds of transitions are used between the panels? What’s the effect of these? 1. “His Face All Red” p. 1, panels 8-12 2. “His Face All Red” p. 2, panels 10-15 3. “Orange Plates” p. 8 4. “Orange Plates” pp. 18-20 Reminder No class next Monday, Sept. 30th See D2L News item and MRU website for ways to commemorate the National Day for Truth and Reconciliation