Graphic storytelling strategies
In comics, graphic narrative strategies are the possibilities of spatially depicting temporal processes using the means of image and page design. The term “graphic narrative strategies” was introduced by Michael Wittmann in “Jack Kirby - graphic narrative strategies” in Comic Forum No. 65 (1994), pp. 42-46.
Basic considerations
Comic is a medium that on the one hand can only represent moments statically in the individual panels (it is thus comparable to photography , painting and sculpture ), on the other hand it wants to make processes in time tangible (as in film , music , theater , radio drama and Literature ). Literature and radio plays leave the visualization to the reader , in comics, on the other hand, the reader has to decipher the timing.
Each panel represents a period of time. The panel frames represent its time limits. The time elapsing between the panels (ie in the gutter ) is added by the reader:
- due to the differences between the panels,
- based on his experience of the duration of processes (dripping tap, lighting a cigarette) and
- based on textual information ("the next day") or
- based on graphical clues (color change during day-night transition).
Although a panel can apparently only display a moment, acoustic information ( monologues , dialogues , noises) allow time to pass for the reader. In the case of "silent" panels without text information, the period cannot always be precisely limited. Panels with text or noises take up at least the period of time that is required for them in the reader's world of experience.
Strategies
In order to tell a story in such a way that the reader can understand it, the continuity of time, space or logic must be preserved:
- The sequence in time is reflected in the order of the speech bubbles and the panels.
- The continuity of the space is preserved within a sequence by providing sufficient information so that the reader can reconstruct the spatial relationships.
- If time and space "jump", at least a logical connection must be established (e.g. total White House - room with American President)
Reading direction
In order to be able to reconstruct the chronological sequence of a plot or story, the reader of a comic has to grasp text parts ( speech and thought bubbles, comments) and panels in a certain order. This order is initially determined by the culturally determined reading direction. In Europe, for example, from left to right and from top to bottom, in Japan from right to left. The following examples always refer to the “European” reading frame.
Image composition
Although only a moment is displayed within a panel, the order in which the individual elements are viewed can still be guided:
- Due to their signal character, the individual picture elements attract the attention very strongly; they are the first to be noticed. Contrasting colors, faces and graphic onomatopoeic words are particularly effective.
- The main lines of the picture composition guide the viewer's gaze.
| * The text bubbles are arranged so that the text can be read from top left to bottom right in a logical context. As a rule, care is taken to ensure that the speaking people are arranged in the same order so that the allocation elements are not crossed over: | * If speech and counter-speech are exchanged several times in a dialogue, the order can be represented by overlapping and multiple, connected speech bubbles |
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Page layout
| Basic reading frame: | If some panels on a page contain graphic elements that attract more attention than others, the logical course of action can be disturbed by being distracted from the intended reading direction: |
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This can be counteracted by applying the principles of Gestalt psychology . The human visual perception system tries to group several objects with certain properties.
| * Due to the brick wall arrangement of the panels, the combination of the panels into lines is supported. | * Overarching text elements : In the example, two panels are linked in the reading direction by an onomatopoeic word and the spoken sentence is distributed over two speech bubbles. The two panels follow one another in the action time. | * Note arrows: In some cases the layout leads to a misinterpretation (yellow arrows) of the reading direction. The reader will only notice this if he cannot recognize a logical connection from the dialogue text. Note arrows (red) are inserted to help identify the reading direction intended by the author. (That is usually a lack of the author's ability to properly use the comic's resources.) |
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| See also Astérix et Cleopatre , page 21, panels 1, 2 and 3: Here the direction of reading is clear due to the balloon arrangement, but arrows are still inserted "just to be on the safe side". |
| * Color and texture : In this example, the author depicts two parallel events: A man falls from a high-rise onto the street. The fall is shown in three phases in panels 2, 4 and 6 from a view high above the houses, which appear as a unit for the reader thanks to the uniform color scheme ( virage ). The ravine extends over all three panels ( split panel ), the perspective forces the reading direction according to the direction of fall from top right to bottom left. In the other panels, street scenes taking place at the same time are shown, which differ in their color design from the panels of the fall scene through their colorfulness. Another indication of the grouping of the panels is the use of speech bubbles in the street scenes and spoken text (from the off) in rectangular inserts. |
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time
The panel frames as the time limits of a moment are indicators for the division of time. The time continues between the panels.
Standstill
If parts of the panel frame are left out, timelessness can be displayed. (However, it depends on the context, since missing frames can also be a means of spatial design. See panel frames) Commentary or explanatory texts without a frame are often inserted between two panels to indicate that the action is taking place while reading this text does not continue to run, so time stands still.
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Inner states and inner action
As with all other media, it is also a challenge for comics to articulate the invisible and to depict “soul landscapes”.
In media that can convey movements, such as theater and film, for the most part information about emotional states such as anger, sadness, anger and joy occurs non-verbally through body language such as facial expressions and gestures . In the static medium of comics, the draftsman can only reproduce these affects in a “frozen” state. This is particularly expressive in the funnies through the exaggerated display of facial expressions and posture, supplemented and supported by other symbols. The more realistic the style of a comic, the less pronounced the representation can be.
font
Up until the 1970s, texts in German-speaking countries were written with the machine (machine lettering ), even if the templates for translations were lettered by hand. At Asterix this is still the case with the cheaper softcover editions. A comparison, for example, of the French album edition by Obélix et Compagnie with the German edition shows the advantages of the hand-made text:
- The text fits exactly into the text bubble, unsightly empty, white areas or overlaps with the edge are avoided.
- In some cases, the lettering is curved and has a dynamic effect. (Page 29, Panel 3).
- The design of the individual letters is individual and looks lively.
Font size and weight can reflect emphasis or volume
Font and font color can characterize the speaker or his state of mind. The fonts in the Valerian and Veronique album series by J.-C. Mezières and Pierre Christin: Each alien contains different characters depending on its origin.
Examples from Obélix et Compagnie
- The jealousy of Methusalix's young wife is represented by green text, her flirting with Obelix by pink-red text in the speech bubbles. (Pages 27 and 28)
- Shaky letters symbolize the Roman legionnaire's fear of Obelix (page 15, panel 11).
- The loud command tone is expressed in large, bold letters and even capital letters (page 5, panel 7).
- The letters of the onomatopoeic word “CRAAC!” Are broken (page 27, panel 7).
Picture symbols
Symbols are perceptible signs or symbols (an object, an action, a process) that stand for something imperceptible, including something that is thought or believed. In comics they appear as a supplement to the text or even replace it.
- Pictorial symbols are, for example, faces whose facial expressions express a certain feeling or flags that stand for a certain country, dove of peace, glowing lightbulbs for the “light that comes up”, asterisks “that dance before your eyes”, clouds of explosion.
- Non-figurative symbols are abstract signs. They can have evolved from images. This also includes the thought and speech bubbles.
- Punctuation marks only for feelings asking astonishment ("!?" For asking astonishment, "..." for speechlessness.)
- Onomatopoeia
- Letters : "zzzzzzz" for sleep
- between these two types of symbols there are all possible transitions of the degree of abstraction. The more abstract the symbol, the more universal it becomes. That is why you will find fewer symbols in the realistic comics than in the more abstract funnies.
- Pictograms : drops, lightning bolts, asterisks, bursting bubbles, clouds of smoke, smoke spirals. The stock of non-figurative symbols can be derived partly from standing idioms or verbalizations of the state of mind. (“Seeing asterisks from all the pain”, “smoking anger”, “bursting with anger”, “bursting like a soap bubble”).
- Corona : The example shows different degrees of abstraction for the symbol “sweat droplets” for “fear” from the still realistic drops to a “ corona ” made up of lines. In realistic comics, drops of sweat can only be shown in close-up. This disadvantage is compensated, especially in funnies, that the sweat drops are shown outside the figure. This corona (with sacred images , a halo or halo ) makes mental or emotional "broadcast" visible. Depending on the facial expressions, very different emotions are represented with it , which are made clear by using certain pictograms. If a corona consists only of simple lines, it can stand for many different internal states, its meaning only becomes clear in connection with facial expressions and text. Helical and wavy lines as an abbreviation for smoke or jagged lines as an abbreviation for lightning symbolize anger or pain.
- Action lines (Speedlines): Lines of movement parallel to the contour indicate not only movement in space, as an abbreviation for phase decomposition , but also inner movement.
For the comic artist, these graphic abbreviations and characters are the letters of an alphabet that he combines to form words and sentences. But the reader has to decipher the meaning first.
Examples from Astérix Legionaire :
- Punctuation marks ("!?") Without further text for questioning amazement in a speech bubble (not in a thought bubble!) (Page 7, panel 4)
- Hearts with speed lines that go off Obelix's head like an explosion, for being in love (page 11, panel 8);
- Hearts with asterisks, small bubbles and small burst bubbles and two wavy speed lines represent the speechless, silly infatuation (page 11, panel 9).
- A crumbling heart for the broken dreams of love (page 12, panel 6).
- The language of an Egyptian is represented exclusively by symbols that are supposed to remind of the Egyptian hieroglyphs, which represent a picture script. However, symbols are used that are not part of the ancient world, but the modern world (see anachronism ). (Page 18, panels 7 and 8)
- Waking up from deep absorption in thoughts symbolized by a bursting soap bubble (page 7, panel 4).
- For the time being, a cook covers up his anger with exaggerated friendliness: chirping birds and flowers accompany the text. (Page 25, panels 4 and 5)
Example from Obélix et Compagnie :
- Anger and anger are represented in the text bubbles with a black thundercloud, skull and crossbones, clenched fist, spiral or Asian-looking characters (page 21, panels 5, 9 and 10).
Examples from Astérix et Cleopatre
- Anger: Dragons (Page 13, Panel 10)
- The stomach pains of the poisoned food counter are represented by three coal fires (page 29, panel 5).
- Impotence: asterisks, small planets or small birds whirl around the head of the unconscious on orbits indicated by elliptical speedlines. (Page 37, Panel 7).
- more complex symbols for blow, explosion, collision: asterisks, speedlines, explosion cloud, also accompanied by onomatopoeic words. (Page 37, Panel 5).
Examples of language symbols from Astérix et Cleopatre :
- The language of Cleopatra is initially represented by symbols that come from the Egyptian hieroglyphic script. (Page 6, panel 1)
- In the course of the album, the stock of characters is enriched by additional “speaking” symbols, so that the dialogue between the Egyptians can be deciphered. (Page 17, panel 6)
- Obelix also uses these symbols - in contrast to the correct pronunciation of the translator, his breaking of the wheel is represented by the corresponding simplified and poorly drawn symbols (page 19, panels 6 and 7).
Examples of speedlines from Astérix et Cleopatre :
- freezing sailor (page 9, panel 1)
Examples of the corona from Asterix et Cleopatre :
- Joy (page 7, panel 4 and 9), astonishment (page 9, panel 6), fright (page 10, panel 4), strength (page 16, panel 9), knowledge (page 18, panel 1), modesty (page 28, panel 6)
- angry Cleopatra in (page 5, panels 2, 5, 6 and 8 or page 44, panels 2 to 7)
- A painful part of the body emits different colored stars with wavy lines of movement.
speech bubble
Speech bubbles can not only reproduce the simple spoken word, but also provide further information about the speech act .
Colored speech bubbles appear in Asterix et Cleopatre among Egyptian speakers whose speech bubbles only contain hieroglyphs. Since very many different people speak in hieroglyphs and the color supply is limited, the same colors are used for different people. Examples:
- green for the Egyptian captain (page 9, panel 2) and the Egyptian dog hunted by Idefix (page 17, panel 9)
- yellow for Numerobis' jealous architect competitor, Amonbifis, and his servant (page 13, panel 11), for the translator and Obelix (page 19, panels 6 and 7)
Forms :
- jagged: violent anger ( Astérix et Cleopatre , page 8, panel 6), fright, page 33, panel 8)
See also
swell
- ↑ "Music is the only art form (related to film) that has to do with the rhythmic and formal structure and organization of a passage of time." ( Edgar Reitz , quoted in Reinhold Rauh, "Edgar Reitz - Film als Heimat ")
- ↑ "Poetry can only grasp its object in chronological succession, in actions, the performing arts (sculpture, painting) on the other hand in a 'fertile moment' in the spatial juxtaposition of figures and colors." ( Gotthold Ephraim Lessing "Laokoon: Or about the Limits of Painting and Poetry ", 1788)
- ↑ Example from Hermann, Caatinga, p. 43, panel 3; Cult Editions, 1996
- ↑ after J.-C. Mézières and P. Christin, Valerian and Veronique, Volume 8, Endstation Brooklyn, p. 23, Panels 6 and 7, Carlsen Comics, 1981
- ↑ a b Uderzo, Goscinny, Astérix et Cleopatre, Dargaud Éditeur, 1965
- ↑ in Alan Moore and Dave Gibbons, Watchmen, Chapter 1: "At midnight, all agents ...", p. 4
- ↑ a b Uderzo and Goscinny , Obélix et Compagnie , Dargaud Editeur, 1976
- ↑ Uderzo and Goscinny , Obelix GMBH & Co.KG , Delta Verlag Stuttgart (distributed by Ehapa Verlag), 1976
- ↑ Uderzo, Goscinny, Astérix Légionaire , Dargaud Éditeur, 1967; (German edition: Asterix with the legionaries )