24 February 2010

story of my life

Washington, Marcus

English 112

January 31, 2010

Chapter four was dealing with frames. Each panel shows a single moment in time when you have a sequence of panels, in between the panels (gutter) your mind fills in the intervening moments that we naturally assume or interpret what is happing. Scott uses a rope as a metaphor the shows that time figures and faces are equal. But if all the images are on the same line then the most important icon in comics is the panel which is overlooked. Scott makes a lot of good point but one major point is that not every figure or shape effects each panel strip. As well as action, drama, and additional effects such as multiple images, and streaking effects.

Chapter six “show and tell”. Tommy at school He pulls out his robot for show and tell, and he can’t explain how it works but he shows them, and Scott say’s we all started out like this using words and images but normally us as growing up translate from just shown something to being able to understand how it works and able to tell another person in just words what and how that robot works. McCloud says when were younger we read books filled with nothing but pictures because there easier to read and when you get older you move to books that have very few pictures and a lot more words. Then finally you read real books with no pictures in them. Early comics had no words and all pictures, and when words were associated with comics they stayed segregated to the normal writing we know today.

The part I understood best was when Scotts explains his self with the lines or just any motion in general not everything on the page is meant for that particular scene or panel. So he puts it through a short comic and each figure and face is matched in time. Which puts all the images on the same vertical line, but don’t change each other. So what I got out of that is each panel holds single a moment and a single moment is suppose to be read in a second, which we naturally do reading from left to right but as this happens our imagination fills in any transition spots that pictures or word leave.

On page 101, there are three different comics and each one tries to lengthen a pause. The first comic adds panels and of course it works, then the second comic makes the gutters wider which do nothing, and Scott wonders if there was another way to lengthen the pause. In the third comic he just stretches out the middle panel, and it works. I found that interesting because I never really thought about how to make a pause longer in images.

1 comment:

  1. Good post--just proofread more closely, and never refer to an author by their first name :-)