I feel that it is necessary to blog a little on both chapters because they build upon each other as a general idea. Scott Mcloud first starts the third chapter by discussing his adolecent theory of how things may not exist beyond his senses, though later in time this is easily proven wrong (i.e. the existence of other places, people, ect). Scott ties this very complex idea to how the space between panels (also known as gutters) require or even demand your imagination to see what is not being illustrated. The comic can manipulate the readers mind with simple words to show action and leave the reader assuming an action has occurred.
Scott Mcloud continues to elaborate on this passing of time by breaking down time in sequential art into six different categories:
1. Moment to Moment
2. Action to Action
3. Subject to Subject
4. Scene to Scene
5. Aspect to Aspect
This analysis helped me understand that time passing in comics is not set or limited to a specific time frame. Identifying these sequence times was a little difficult to spot at first but I think I might finally have a firm grasp on it. For example, this sequence of Captain America getting his brains ripped out from "Marvel Zombies" resembles Mcloud's Action to Action description.
In the fourth chapter Mcloud goes on to explain tha
t time can elapse in just one panel and within only a second or two, thus defying time and reality without the reader noticing. This is important for his next point of motion in a panel. Motion it usually captured with wavy or ridged lines known as "Zip Ribbons" help visually convey a motion a character or object is creating. A good example I found was of the vigilante "The Maxx" smashing the fabled "Isz". All of these concepts are in my opinion essential to understanding movement in comic books and simultaneously make them look cooler.