02 February 2012

Understanding McCloud

Understanding McCloud

            In chapter four McCloud explains that comics have an understood timing between each panels. He goes on to explain that people reading comics fill in the blanks during the spaces in-between each panel. McCloud says that it is good to do this because it makes the reader become a part of the comic. If the comic has a man with a gun facing someone in the first panel, and in the second panel there is a scream and all you see is the man with the gun in the second panel the reader most of the time connects the dots that the other person that was in panel one is now dead. The way this includes the reader is the reader never saw the other person shoot anyone or even actually saw anyone die, they assumed it in their head and they even made up a way that the person died. The person may have ran and got shot in the back they may have just stood there either way the reader was the one who really killed the person not the man. By understanding the timing between the panels it draws in the reader and makes them apart of the comic instead of just the reader.

            I agree with McCloud because when we talked about it in class it helped me realize that everyone that reads the comic thought of completely different ways to kill the person. One person in class had a completely different way of killing of the character than I did. Timing between panels in comics make the comic a story. Understanding exactly what McCloud is trying to say is kind of confusing sometimes because he contradicts himself in this chapter when he says that a panel that does not have any other panel following it is not a comic but he uses on panel with many people in it as an example of a comic. This confuses me so is this a comic or is it not? To my understanding of what McCloud said one panel is not a comic.

01 February 2012

Time Machine- Chapter 4 of Understanding Comics

In chapter four of Understanding Comics The Invisible Art, author Scott McCloud informs the reader about time in comics. He explains how our mind fills in the time and motion between panels. It is brought to our attention that the various shapes, sizes, and spacing play a big role in timing. For example, if  the panels are spaced out more the mind automatically reads a larger amount of time between the actions displayed. The same can be said if a horizontally wide rectangle is used as apposed to a smaller vertical rectangle. On some occasions the panel may bleed off of the page creating a feeling of timelessness; other times there is no panel to create the same effect. Also in this chapter, McCloud describes motion. The reader cannot see motion but can imagine the motion between panels. Often times authors show motion within panels by drawing lines of the moving object. There are different variations of how to draw motion in one panel used by different parts of the world. Time in comics is crazy and mixed up but somehow unscrambled by the human brain.

I like McCloud's description of time in comics because he explains the different essences of time and space. We perceive time frames through shapes and sizes of panels. The different spacings between tell a different story.  Even motion within panels is depicted differently. All of these things are picked up subconsciously but I fear I may have never noticed without McCloud's help.

31 January 2012

The Vocabulary Of Comics-Chapter 2

Understanding Comics, The Invisible Art, Scott McCloudThis second chapter mainly talks about the use of icons. McCloud uses icon for the main purpose of the chapter to mean any image used to represent basically a noun. Everything such as characters can be an icon. Icons can be understood by almost anyone. McCloud states that the importance of comics is made up of icons. He gives us an example of this by showing us a picture of a pipe. He states this is not a picture of a pipe, that it is a painting of a pipe, nor a painting but a drawing, but this wasn’t drawn so it is a printed, more like a painting of a pipe but it’s not a painting, rather, it’s a drawing of a painting of a pipe but it really is a printed copy of a drawing of a painting of a pipe.  His main point in was to tell us what we see is not the actual object that we see. He also used for example the world, icons of a cow, car, planet, smiley face, or food. He also talks about imagery and how it takes a big part in comics. How demonstrates we human can see ourselves in everything such as cars, or any object or cartoon, and how we apply emotions and identities. He explains how the less detail the character or the object has the easier it is to relate to it. McCloud also states how comics require balance or else the comic fails. The overall point of this chapter was to address to the audience how comics have limitless potential for anyone.  I believe chapter two does help prove his point because he gave the basic ideas and vocabulary intended.
-Julia Lucero

Comic like what is in McCloud's book!

Found this on 9gag. ENJOY!

Examples of Using Closure and the Gutter for Comdey

Here's a great example of how infants are incapable of closure:

And here's a funny comic using the gutter for a purpose other than closure:

Questions? Quibbles? Controversies?

In The Gutter Chapter 3 Summary

In chapter 3 of Scott McCloud’s book, he breaks down what the in between the lines of comics. What we as readers see and don’t see, more of a “read-in-between-the-lines” sort of deal. Going through the book we know that there are more to comics that meet the eye. It’s not just a collaboration of picture and cartoons; it’s a more in depth complex piece of literature then that.  What this chapter is really going into is the technicalities of even though something isn’t there; we still assume that it is, that’s what our minds perceive. Also comparing it to a game of “peek-a-boo”, even though the mother playing with her child is still there, the child’s mind says that she is gone. His definition of this act where we observe the parts but perceiving them as whole, is called closure. He uses this definition throughout the chapter to describe the so called “gutter” of comics and other areas as well. While reading about the gutter we learn that in a comic book, the transition from one panel to the other, the space in between, is the gutter, this is where we do the assuming of what happened between events.
I as an avid comic reader, I honestly didn’t know about the small details such as the transitioning "gutter" area that all comics have. It makes since that the time we assumed happened in between was just something created by our mind, because in many daily things we do it all the time. When we read or watch a television show, our mind will put things into the story to continue the flow. If we watch an episode of our favourite cartoon, they could leave a crucial scene out and our imaginations immediately take over to justify what happened. It’s a common every day thing, and until I read this chapter, I never noticed how much we see “gutters” in our daily life. 

Keep Your Mind In The Gutter!!!

The beginning of chapter 3 in the book Understanding Comics, Scott McCloud introduces a topic that is known as closure. He introduces closure by explaining what every child has experienced and it has happened to him when he was a child. As a child you tend to daydream (I still do it every once in a while). As most children tend to think, a daydream was just a show for us, we didn't know that while we are a child that this was something we did to entertain us. We didn’t know that what we were doing was nothing more than a simple theory. Scott McCloud also explains that we use all of our senses, while reading comics. As children we followed the simple rules, if we can't see it, touch it, smell it, or taste it. It doesn't exist in our minds, but the game of Peek-A-Boo is a great example of how this is put to the test. We learned that no matter what our Mom and Dad did they didn’t go anywhere, because they would reveal themselves a couple seconds later. This is called closure, and what this means is, in our everyday lives we complete things, based on our past experiences. One of the most difficult mediums that require closure is T.V. This is mainly because scenes on a movie can change in an instant, without us knowing. This is a result of time and motion. The gutter is the space that is in between the panels, and to me this is what makes comics worth reading. The gutter is what makes use our senses, it creates suspense. While having the ability to draw and to create a storyline, which is a craft in itself, there are other types  of crafts that they use. One of the many crafts of being a comic book requires you to know these; moment-to-moment,action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect, and non-sequitur.  Moment-to-moment requires very little closure between panels. Action-to-Action panels are those that have a single unified subject. Subject-to-Subject closures have the ability to change the scene, but it remains on the subject. Scene-to-Scene is transitions that challenge our minds to cross distances of time and space to remain on the subject, and to picture the story and its settings. Aspect-to-Aspect closures are more likely to bypass time majority of the time, and forces us to wonder around. While Non-Sequitur panels offer no possible link to the possible subject. As McCloud states " Comics is a mono-sensory medium it relies on only one of the senses to convey a world of experience."
From what I can understand, "gutters" are one of the main points of a comic, they make us use all of our senses to figure out what is going on in the comic. Not only is this making me more interested in the book, it has the potential to make pick up a comic book (unlikely as of right now) and actually pay attention to what the meaning behind each panel is. So for now I'm going to stick with keeping my mind in the gutters and using my senses to react the comic storyline.

Fill in The Space Ch.3

Invisible art  has finally opened up into a bigger picture in chapter there of Understanding comics by Scott McCloud. McCloud started off by explaining the importance of closure. Closure  By saying when we as people are given blank space we tend to fill it in with what would assume goes there. Just because we don't see it doesn't mean it isn't there in our mind. Comics is simply using the imagination and using all of our senses.  Just because we cant see it, hear it, touch it, or smell it doesn't mean it is not there. Faith is the main meaning of having that closure for example like the game "Peek-A-Boo".
McCloud also made other great points by explaining the panels of comics. By labeling them off into categories the first one  is moment-to-moment which not much happens from one scene to the next. The second category is action-to-action which one subject taking and doing a lot of different kinds of actions. Next is subject- to-subject is staying with one main idea and having meaningful transitions.  Last but not least scene-to-scene which is transitions to another area from a greater distance from the first one.
After reading this i never realized how much meaning comics have and how involved a reader has to be to be able to expand their horizons on filling the gutters. It took me awhile to take the chapter all in so i went back and read it again to get a better understanding. McCloud is very knowledge able and every chapter I keep reading I am gaining more respect for comics.

The gutter is where the mind should be!

In Chapter 3 of Scott McCloud’s Understanding Comics he is articulately showing the readers what is in between the lines, what we don’t see as the readers, and that is what is in the gutter. We read the part where it talks about how a BIG part of comics is the space in between the scenes. We may not realize it but our brains are filling in that space making it our own story with another person’s ideas. We may see the actual picture but we fill in the rest as to what is underneath the panel, and this I have learned is called closure. This means we see what is only on paper, but perceive the partially drawn scene as a whole, which can be the author’s main goal for the reader to achieve while reading a comic. Reading from that view point I learned that I do that with almost everything, I can’t see it but I know it’s there. For example when you go to the grocery store, you buy the groceries knowing they have the intended contents without the tendency to open up the bag and see for yourself. We assume, we fill in the blank.
            In this chapter I have also read about the differences in styles many comic authors have. The moment-to-moment and action-to-action transitions vary on the author’s techniques and writing styles, this is where the east and the west comics’ are then separated. While they differ they still achieve their purpose of the story telling, as unalike as they may be.

Fill in the Blanks With Your Imagination

In Chapter three of Understanding Comics, by Scott McCloud, he starts off the chapter with an example of how society assumes things, he states "I've never seen the earth from space firsthand, yet I trust that the Earth is round." It shows that even though we haven't experienced seeing the world from outter space in person, we begin to assume that it is still round however. He then starts to explain that comics works in a similar way. The space between each panel in a comic is called a "gutter", the gutter allows the readers to piece together their own scenario of what could happen between each frame. The gutter can be used differently in each comic, some comics allow for a lot of the readers imagination, where other comics only give you a small ammount of imagination between scenes. Their are six different types of transitions between panels, such as, moment to moment, action to action, subject to subject, scene to scene, aspect to aspect, non sequitar, these six transitions require imagination.Overall in this chapter McCloud is trying to make the readers understand that unconsiously as readers we create our own scenario, and we assume many things, which makes reading comics a different experience for everybody.

Ch. 4 Time Frames

In the forth chapter of Scott McCloud’s book Understanding Comics: The Invisible Art, he talks about time in comics and how it is often overlooked. McCloud begins his explanation by showing a large single panel where many characters are present and there is a lot of activity taking place in the panel. Just because it is a single panel does not mean that is also just a single moment. In fact, Scott McCloud explains that the single panel can actually be broken into several different panels. The reason for that is because the words, including the words that illustrate sounds, introduce time. McCloud then explains that photography may be the reason why many people see a single panel as also being a single moment because that is what we are conditioned to do when looking at photography.
            Scott McCloud also writes about another crucial piece of comics that is also overlooked by almost everyone, the panels. The panels in comics are very important because they show when time and space are being divided. The shape of the panels vary but with that, it will not change the “meaning” of what is in the panel, however it can affect the experience for the readers. He then explains how time and space go hand in hand in comics. McCloud writes that readers are usually able to guess the duration of a sequence but what if the author of the comic wants to extend the pause of the sequence?  The ways that the author can do so is by controlling the content of the panels, the number of panels, the closure (space) between the panels and the shape of the panels. Another important aspect of panels is the border of the panel. If an image were to continue off the page it is illustrating that the time in the panel is endless.
            Lastly, Scott McCloud writes that towards the end of the 19th century, everyone was focused on becoming the first person to successfully produce moving pictures and as that evolved Italian Futurist and artist, Marcel Duchamp, were focused on painting moving images on still mediums. However they soon moved on from the task but it was picked up and later perfected by other artist. The techniques that McCloud shows on how to create movement are using multiple images, streaking, and “subjective motion”.
            I thought everything Scott McCloud wrote in the forth chapter was very interesting and it made me realize that when reading comics, you, the reader, don’t even realize how we are processing time and all the moments in the panels. The chapter really opened my eyes to how we can read comics and process them with no problem even though the process of making them that way readers won’t have a hard time understanding them is very complex. 

Closure of the Gutter

In Chapter 3, Blood in the Gutter, of Understanding Comics the Invisible Art McCloud explains closure, its importance in the gutter, and the expectations of comic writers. Closure is the capability of seeing something minuscule or incomplete and still able to perceive the complete picture as a whole. What writers refer to as “the gutter” is the space between the panels of comics and is left open for the reader to distinguish what events takes place during that time. He gives an example saying that he may have drawn a picture of someone raising an axe at another person, but it is up to the reader to visualize the scene in action. He then goes on talking about the six different panel-to-panel transitions which are moment-to-moment, action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect, and non-sequitur. Most comics from the west derive from three main transitions: action-to-action, subject-to-subject, and scene-to-scene. Unlike the west, the east makes comics using almost all types of transitions. When he tells a story about a person who drinks, drives, and then becomes deceased he retells the story a total of three times and each time he shortens it. By doing this he shows how the art of comics is as subtractive an art as it is additive and how finding the balance between too many panels and not enough is crucial.

I never thought even small parts of comics can be so complex. When he talks about the gutter he goes in depth and takes apart each aspect of it, explaining it thoroughly.  I had always thought of comics as very simple books until I read this book. 

30 January 2012

Ignorance is bliss

 As children we tend to have a very wide ranged vivid imaginations. We can take anything and turn it into something completely different and it makes perfect sense to us. We also have the mindset that if we don't see something happening it never occurred, I guess we're just ignorant in that way.

In Scott McCloud's third chapter of Understanding Comics the Invisible Art he demonstrate the same concept. He demonstrates that people relay on sensory details in order to experience the outside world. If we cease to see something, in our minds, it doesn't exist. "I've never been to Morocco, but I take it on faith that there is a Morocco!" Scott discusses that one's view of reality is an act of faith based upon simple pieces of the world.

In this chapter Scott also presents the idea of "closure". He defines this as the "...phenomenon of observing the parts but perceiving the whole...." Closure allows people to put the little parts of an event together to form a story. Closure can occur anywhere from comic books to movies on the big screen. For example, McCloud says “I may have drawn an axe being raised in this example, but I’m not the one who let it drop or decided how hard the blow….That, dear reader was your special crime, each of you committing it in your own style. To kill a man between panels is to condemn him to a thousand deaths.” Closure allows the readers and viewers to interpret a story in their own way. It allows them to use their imagination to fill in the blanks and come up with their own ending.    


Comics & Time

Growing up, Mcloud used to have this recurring day dream which stuck with him for quit some time. In this dream he felt the world was made to please him, like a big show being put on for him daily. The reason this is important, is because chapter three in "Understanding Comics," he introduces closure. The correlation between the two is that we as human beings assume the "norm" is taking place when were not watching. Were not sure of what or if anything is going on if we can't be a witness. "Our precept ion of reality is an act of faith based on mere fragments," is an example Mcloud gives to further expand on the topic. Explaining that people view the world as a whole but can only tell as much as their five senses (smell, see, listen, taste, touch) will let them, but in all actuality the world is incomplete in many aspects. Mcloud uses a few examples that were very helpful in my opinion. One he used that was extremely helpful was a mother and child playing "peek a boo." As infants, committing the act of faith is nearly impossible, so what they rely on is their five senses. In the game of "peek a boo," the moms face comes and goes but she still remains. Closure can take place in many different ways, from pictures, to newspapers, even television to posters. Closure is that space that takes place from one panel to the next. In another example where there is a man with an axe in back of another man in the first panel, and an "eeyaa," in the next, Mcloud may have drawn the crime scene up, but myself as the reader actually committed the crime in my own way. The space between the two panels allows the reader to put mystery and their own ending into action.
Next, transformations are introduced. Mcloud begins to talk about the different types of transitions which include, panel to panel, action to action, subject to subject, scene to scene, aspect to aspect, and non-sequitur. By transition, he explains how different each set of panels can be and how our minds adjust to each one and make sense of a set of panels that make no sense at all. Action to action is by far the most popular transitions used it comics. Mclouds main point in this chapter is to inform the reader how critical it is to understand closure while reading comics because without it, the reader would not be able to relate to what they are reading and identify the relation with the author. Imagination during the closure is huge!

Reading chapter three for the first time I did not really understand it so I had to go back and read it for a second time. In my opinion this chapter was probably the best yet. The reason being is I personally love mystery and things being left for me to figure out. This whole chapter was basked on closure and transition which allowed me to look at panels and add the mystery and transition in myself. Panels are not what they seem. Reading between the lines and going beyond what your eyes see is very important!

Use Your Imagination!

From the time of birth to our childhood, we have to develop a perception of things that exist even if we do not see them. If we were unable to learn this we would not be able to function in the world around us. Our imagination is a fascinating thing, it allows us to perceive things even though we cannot see, hear, taste, touch or feel them.
In chapter three of Understanding Comics by Scott McCloud, he writes about how comics allow us to open our minds, by simply having spaces between the panels. By doing this, the reader can (and should) assume what has happened between the scenes. Like most readers, when I see two different pictures that are somewhat relevant, I find myself more curious on what went on. Each reader can interpret the story differently. This simple idea allows many readers to use their imaginations instead of just reading tediously.
According to McCloud there are six different types of transitions between panels. the first type is a "moment to moment" transition. For this type of transition the reader has to use little imagination, because it is as simple as showing a person blink. I think this type of transition would entail a very boring story, due to the lack of imagination involved. The second type of transition is "action to action". This also does not require the reader to use very much imagination because it gives a play by play of what happened in the sequence. In my opinion i see this type of transition as one that would be used in children's comics. The third type of transition is "subject to subject". This type of transition is really cool. It shows two different images that stay within the same scene or idea, but they allow the reader to use their imagination and become more involved in the story. I think this is a good idea, because each reader can interpret the story differently, and the meaning could be different for each individual. The fourth type of transition is called "sense to scene". This type of transition also shows two different images within the same idea, but this one takes the reader over a significant amount of time or space. This makes the reader have to use more imagination because there is more time in between the images, that the reader can imagine so many different things. The fifth type of transition is "aspect to aspect". This one can shows two different images and the ideas of the images are different. To be honest I don't understand how this works, in the sense that the reader could explore their imagination if the pictures don't make sense? The last type of transition is "non-sequential". This means that the two images have basically nothing to do with one another. I think that the reader would have to have a big imagination for this one to see what the story was about.
I'm with McCloud on the idea that comics open our imagination beyond what we ever thought they could, and that all we need is to have a little bit of faith. Because after all, even if we can't see something it doesn't mean that it doesn't exist ;).

Pure Genius!!!!

In chapter 3 of Understanding Comics, Scott McCloud mentions that when he was younger he would daydream that nothing existed unless he saw it or paid attention to it. It was later on in life when he realized that he was not alone when it came to experiencing this theory. As I read through the chapter, McCloud states that everybody has five senses that we use every day and in every situation. The five senses are seeing, hearing, smelling, tasting and touching. Some of us use these five senses without even noticing. We have developed these senses over time as we grow up. It begins when we are infants and we are introduced to the game of "Peek-A-Boo."
Another topic that Scott McCloud introduces in chapter 3 is closure. He states that there is a wide variety of closure. The variety of closure ranges from shapes, outlines to the change of time and motion. A prime example of closure is the space or gutters between the panels. They allow the reader to become a part of the comic. By becoming a part of the comic we are able to predict what will happen next. For example, let's just say that Spiderman was fighting the Green Goblin on a roof top. This fight is a combination of shooting web, kicks and punches. The Green Goblin forces Spiderman to the walk toward the edge and Spiderman is close to falling. But Spiderman shoots the Green Goblin in the face with his web, blinding him. Spiderman then punches the Green Goblin and performs a spinning jump kick. The Green Goblin is kicked off the roof top and Spiderman has defeated his enemy once again. You as the reader decided how hard the Green Goblin got kicked and where Spiderman kicked him.
The third topic that McCloud mentions in the chapter is the 6 categories of panels. The First category is the Panel to Panel which is also called the Moment to Moment. This type requires very little closure. The Second category is the Action to Action. This type of paneling is a series of action that is occurring through numerous panels. The example of this type is a picture of a baseball player getting ready to hit the ball. The next panel is when the baseball player is swing the bat and hits the ball. The Third category is the Subject to Subject. The main point of this paneling is to stay within the scene or idea that is currently being discussed. The Fourth category is the Scene to Scene. This panel is used to take the reader over a series of time, distance and space. The Fifth category is the Aspect to Aspect. This type of panel passes through time very easily and sets the mood about different places or ideas. The Sixth category is referred to as the Non-Sequitur panel. This panel has no relationships with the other panels. This chapter is definitely making comics sound more appealing. It is also adding more to my knowledge of comics.

Keep Your Mind in the Gutter! Ch. 3

Chapter Three of Scott McCloud’s Understanding Comics-The Invisible Art deals with the concept of closure and progression between the panels in comics. According to McCloud, closure is the act of “observing the parts but perceiving the whole.” We use closure every day, usually relying on our own experiences to help us fill in the blanks. We use closure to perceive photographs that have been reproduced in a newspaper or a magazine, when we watch a film or television and, of course, in comics.

The small spaces between panels in comics are known as “gutters.” Closure has an especially important role here in the gutter. We use closure to help us unify the separate images into one coherent idea. Closure helps the reader participate in comics as they read and is, in fact, the main driving force behind comics because this is what simulates time and motion. McCloud makes the claim that because the gutter requires none of our senses, all of them are engaged by it. This is due to the fact that our imaginations are set free between the frames. McCloud examines the six different types of transitions, which include moment-to-moment, action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect, and non-sequitur. Here in the West, the most popular transition types are action-to-action, subject-to-subject, and scene-to-scene. In Japan, moment-to-moment and aspect-to-aspect are also popular transition choices.

The whole idea of closure is fascinating. The fact that our minds can take pieces of an image and perceive a complete image is nothing short of amazing!  I never realized how involved the reader’s imagination had to be while reading comics.  I’ve also never given much thought to the purpose of the space between the panels; I always thought it was just there. Scott McCloud, however, has made me aware of the gutter’s special role in comics.

The simple, and the complex.

The beginning of chapter 3 in the book Understanding Comics, Scott McCloud introduces a topic known as closure. He begins introducing closure by explaining what happened to him when he was a younger child. When he was a child, he daydreamed and later found out that there were other people who daydreamed, and never knew that their daydreaming was actually a theory! McCloud explains that closure meets human needs by using their 5 senses, (seeing, tasting, smelling, feeling, and listening). I agree with McCloud when he gives an example of what a baby perceives when playing the game known as "Peek-A-Boo".  McCloud explains that when the sight of "Mommy" is actually there, to a baby, she isn't and will eventually appear at some point for them.

Between panels is where we can find closure. Our mind wonders while reading panel to panel and allows us to connect each panel together with the last one that we saw to pretty much make a reality of the comic. According to McCloud, "Closure in comics fosters an intimacy surpassed only by the written word, a silent, secret contract between the creator and audience." I agree with McCloud because in order for there to be closure, a person must actually see, or know about something in order to understand and come to an understanding of the topic. Talking about this topic leads McCloud to explain how the creator honors art and craft. There are 6 panel transformations. Moment-to-moment (which requires little closure), action-to-action (shows progression), subject-to-subject (stays within a scene), scene-to-scene (transports us across distances of time and space), aspect-to-aspect (sets a wandering eye on the different aspects of the comic), and the non-sequitur which has no logical relationship between the panels.

Closure is very important when it comes to reading comics. It makes the reader become involved in the reading. While I read this chapter, it taught me a different way of looking at comics. Now that I understand the term "closure", it actually helps me to understand the meaning of what is being said in the comic. It helped me to read through chapter 4 thoroughly and swiftly.     


Chapter 3 Blood in the gutter

Chapter three is all about closure, and how the author's of most comics assume you to know certain things. The chapter informs us that we look at the world using our five senses. Although at a younger age, you're not really able to use your senses, and a great example of the game peek a boo was given when the child knew his mom was there a second a go, yet she disappeared so quickly. The chapter also helps us understand the six main categories and also explain the variations of eastern and western translations. Regarding the six categories, Moment to Moment requires very little closure. Action to Action features a single subject in distinct progressions. Subject to Subject requires the reader's involvement. Scene to Scene requires deductive reasoning. The fifth element Aspect to Aspect sets a wandering eye on different aspects of a place, mood, or idea. The final element is the Non-Sequitur that offers no logical relationship between panels. The whole idea of closure and the assumptions of the comic readers really in my belief is really securing the fact that there is a comic book out there for everyone. For example when McCloud explains that in the killing scene, we as readers all took part in the killing, it's true that we did because in our minds, we are the ones that decide how much force we use when dropping the axe down on the man.

All in all, my thoughts on the chapter are that I actually enjoyed reading the chapter. It wasn't too long or as long as I thought it would be. The most interesting thing to me in this chapter is the idea of closure and how we as readers really do take part in the comic. It was puzzling to me how well I connected with the assumption thought that we as readers know what a closed eyeball looks like drawn, because the reader assumes that we in general know what a closed eye looks like. I didn't really understand the differences of comics in the eastern and western regions, because I believe they are different styles from one another since the east and west have different cultures.

Seeing the Unseeable: Chapter 3 - Blood in the Gutters

The gaps between the panels leave an infinite amount of space for the mind to fill its blank canvas. This act of filling is referred to McCloud as closure. This allows readers to have a continuous thought, even though the panels themselves are in a state of transition. McCloud states that there are six different types of transitions. Moment to moment, action to action, subject to subject, scene to scene, aspect to aspect, and non-sequitur. Starting with moment to moment and going to non-sequitur the need for closure increases greatly, to the point where non-sequitur does not seem to have a rhyme to its reason. Focusing on American artists, statistically, there is a pattern in comics that show a heavy reliance on action to action, subject to subject, and scene to scene. McCloud links this to the fact that Western culture has a fixation getting to the point, while Easter culture places importance on how you get to the point. Eastern culture has a fixation with balance and balance is key to comics. The author must decide what to add and what should be removed without casting the whole story into a tailspin confusion. The author also must find produce work that is visually stimulating, once the eyes are captured, so are the other senses. The author must also be weary to not create something that is too realistic or unidentifiable. This hinders the reader's ability to have a continuous thought. This balance that is needed in so many different aspects joined together in one story is special to the art of comics, and this is why they are, in a way, magical.

Things only exist because I exist. There is no way I can prove things are real beyond what I am sensing in that very moment.This point made by McCloud I found to be perplexing. When I was younger I don't doubt that I had similar thoughts, but now I realize how much faith every single person invests in this world. I cannot prove that my house in Colorado is standing right now, but I trust that it is. This idea relayed interestingly to how comics are read. I never considered how the gaps were apart of the story. The gutters allow the readers to become the authors, making comics interactive on a level I never really thought of. McCloud really hook, lined, and sinker-ed me on this one.

Not Just Blank Spaces

Paulina Medina 
Chapter 3 
January 29, 2012
 Not Just Blank Spaces
How big can ones imagination be, in order to see whats not really there? In a world dominated by our senses, Scott McCloud breaks apart “reality” and puts together the fragments that allow us to perceive a comic with much more detail. Chapter 3 of Understanding Comics-The Invisible Art, describes how the panels, word bubbles and pictures in comics combine with such a complexity that even the blank spaces have a meaning. The automatic process in which we observe a part of something but perceive the whole, is known as closure in this chapter. For comics, closure allows for the reader to make a connection between two panels. The imagination of the reader is crucial for a comic to be enjoyed plentifully. With closure not only is the reader following along the story but he or she is also creating a big picture of the comic. According to McCloud, the reader of the comic becomes “The equal partner in crime,” and has a powerful role once participating in the limbo of the blank space known as “The gutter.” The 6 categories in which the different panel transitions fall into are: moment-to-moment, action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect and non sequitur. Although a comic typically does not include all categories, each author is free to use any of these combinations to “unravel the invisible art of comics storytelling.” Scott McCloud describes the importance of finding the balance between too much and too little in each panel. Not only does the storyline have its complexities, also finding the perfect amount of text and picture to support it plays a crucial part in comics. 
It is very interesting to see how comics involve so many concepts that have truly been ignored, at least by me. Scott McCloud really gets into detail in this chapter and caught my attention supporting the title, The Invisible Art. As readers we are always able to make judgements on weather something is good to read or not. However, to see what a crucial part the readers has in comics and the techniques used by authors is very impressive. It is almost fair to say that if we are not able to understand a comic, then something is wrong with our imagination. McCloud in chapter 3, is great at giving the hidden facts behind a comic and allowing me to look at every detail in order to appreciate them more. 

Chapter 3 "Blood in the Gutter" Understanding Comics

The importantance of chapter Three in Scott Mccloud Book "Understanding Comics, The Invisible Art" is understanding comics in the sixth catogories and diference between East and West Comics translations. The sixth main catogories are ; Moment to Moment, Action to Action, Subject to Subject, Scene to Scene, Aspect to Aspect and Non Sequitur.In the history of comics books all of these are catogories are use in variations of each other limitations. The main caution here is would be that Scott Mccloud Theories on to use these Catogories in prospective and especially style how to use each catogories compliments the story. The main issue that I as a reader had is that say about this issue on the different styles on East ( Japan Comics) and West ( United States of America Comics) are significantly different styles and Ideogologies on how comic are suppose to be precieved. I think there an obvicious different between them (East versus West) but also their very similar to each other in written and illustrated. In contrast i think scott mccloud points out the main differants between the comics book in length and Story Outlines/closures. I like how the author mentions Jack Kirby as the biggiest contributor in the western influenes and in the eastern side Tezuka influence on comic anthologies.

In conclusion, i think Scott Mccloud has many importanty views on chapter three and how his argruments view in his answer towards the end of the chapter. I quote on the importance of his views between east and west comics, "Traditional western art and literature dont wander much on the whole. We're a pretty  Goal Oriented culture." Scott Mccloud Views on the east, " But, in the East. There's a rich traditions of cyclical and labyrinthine works of art." In the end I as reader agree on the author on the different authors view on catogories but I strongly disagree with him on the difference between East and West comics. I argument against Scott mccloud reasons on the subject of east versus west comics are different is the chronicals comics anthologies and description of catogories. The best example where there similar is the "The Dark Knight Series" which is an anthologies on Batman and how he came to be this iconic heroe.

The Theology of Comics

Montel Morris
English 112
29, January 29, 2012

The Theology of Comics

Chapter three of Understanding Comics The Invisible Art takes a more intricate approach in furthering the concept of how we understand comics. Author Scott McCloud delves into what most individuals would not care to think about or pay attention to when they’re reading a comic. The focus has been placed on the reader’s involvement when they perceive what has been drawn.  McCloud once again also gives the reader a glimpse of how he observed life around himself as a child and how it applies to comics. During his explanation of observation, McCloud emphasizes the role of human senses when reading comic panels. Detailing the lesson of what is being conveyed, he uses an outline approach to illustrate the six panel to panel transitions associated with comics and the type of closure the viewer experiences in-between each of the six described.
Throughout this annotation he picks back up on the topic discussed in chapter two to foster conclusion on the subject of various iconic and non iconic drawing styles. Reverting back to his original thought as a child, but only this time as an adult cartoon of himself, using it as a metaphor to have faith in what he is trying to convey. Blood in the gutter has to the most interesting chapter thus far. The description of closure provided great insight into what is actually occurring within our minds when were reading a comic. I never really paid much attention to the involvement of my imagination, because I’ve always been preoccupied with visual aspect of the images. Taking this in account out of sight out of mind doesn’t necessarily apply in response to closure.                  

Chapter 3: Blood in the Gutter

In the beginning of chapter 3 of Scott McCloud’s Understanding Comics: The Invisible Art he introduces the topic called Closure. He describes that people perceive the world as being a whole but people can only tell so much by using their five senses (smell, taste, see, listen, and feel). But in reality the world is fragmented and incomplete. He uses that example to introduce the term closure, meaning that one observes the world as a whole. McCloud begins to discuss the different forms of closure. Closure is that space where the mind wanders between one panel to the next panel. McCloud uses an example of a comic strip where there is a killer with an axe in one panel and just another panel of a word that describes someone screaming. That space in between makes the reader’s mind wander and their imagination come into play causing the reader to actually participate in what they are reading. This then leads into the topic of the panel transformations. He listed six of them, but the common ones are Action to Action, Scene to Scene, and Subject to Sucject. McCloud’s point of this chapter is to show how important closure is when it comes to reading comics. It causes the reader to relate and actually get involved with whatever comic they are reading, causing a connection between the author and the audience.

When reading this chapter I started paying attention to what really closure meant. I re-read a few panels of the comic and my mind wandered. Closure is important when it comes to writing a comic just because it allows the reader to use their imagination and in some sort of way become the author of the unwritten parts of the comic. This chapter made me understands the comic world more clearly. It is not just a bunch of pictures with a few words, there is more in between the lines or in this case in between the panels.

Time in Comics-Chapter 4

Jessica Brink

Chapter four of McClouds book Understanding Comics: The Invisible Art, he talks about the aspect of time in Comics. He uses the metaphor of a rope representing time. One inch on the rope represents one second in time. If you were to line the rope up with the text, and different panels of a comic, you could see that time passes through each one. Even one silent panel has some time taken up in it. In the example that he used, one large panel with different things happening in one panel, is basically several panels, combined into one. When we read, we read it from left to right just like a regular comic, and we assume that time is taken up. But, not all panels are like this, because panels can also be held in a single moment, and it does not have to hold any sound. The panels that hold the icons in comics, act as a divider to show that time or space is being divided.

McCloud continues on by talking about the difference between times depicted in comics and time perceived. A lot of times, we just assume what is going on in certain panels because of what we have done in our own lives. For example, McCloud uses a conversation between two men on page 100. During the three panel conversation, the second panel is a picture of one of the men silently sitting there, or in other words, pausing for several seconds. We assume that the pause is only a few seconds, because of how it is depicted. McCloud points out that there are several ways to shorten or lengthen the pause in the conversation. One way to lengthen it is to widen the space between the panels. Another is to make the panel with the pause, bigger so that it “feels” like a longer period of time. There are several other ways to show time in comics. For example, running a picture off the edge of the page lets the picture escape from the traditional panel and go off into space, making it seem like the picture is timeless, and is always going to be there.

The motion of comics really came about in the 1800’s. Thomas Edison came up with the first motion picture. The idea that motion could be portrayed in a single image, was first addressed by the futurists in Italy, and by Marcel Duchamp in France. He simplified movement in images. People soon lost interest in this idea and the motion line formed somewhere in that time span. The motion line started out a little confusing, but has evolved into a great representation to what the actual physical motion looks like.

I think this whole chapter is really interesting, because everything McCloud addresses, I honestly never thought about. The whole time I read comics through out my life, I just sort of knew these concepts without actually knowing that I knew them, if that makes any sense. For example, seeing that there is a pause in a comic, can easily be picked up through several different ways. Like a bigger space between two panels, or a panel with a character not saying anything during a conversation. I knew that these were pauses, but I never really though about how I knew it was.

29 January 2012

Close That Space!

         In chapter three of Scott McClouds Understanding Comics he goes into depth about many topics that help the world of comics function. It helps us as readers believe that more credit should be given to comics than many people believe. Throughout this experience the world of comics has become very clear that they are a lot more complicated than meets the eye. During chapter three McCloud discusses how comics have a story to tell between each panel where blank space exists. This blank space between the reader is called closure. Closure is something that we do in everyday life. Even if the reader cannot see beyond the page he or she is reading they trust that there are still more pages filled with information about comics. That is what McCloud calls closure and this is what we explore during this chapter.
         Closure allows the reader to use his or her imagination. Closure plays a huge part in comics because without it and the imagination of the reader each panel would be an individual and comics would be unreadable. The creators of comics are trusting that each reader can make an assumption between each panel in order for the story to flow smoothly. This is where the reader has to get involved with each comic and they are helping the creators story come to life along the way. No matter what type of panel the creator has decided to use whether it be moment-to-moment, action-to-action, subject-to-subject, scene-to-scene, aspect-to aspect, or non-sequitur the creator is putting their faith in the reader that they can create their own story between each panel for them to understand.
         This chapter opened up a window that I was unable to see within comics. It helped me better understand the many possibilities that comics can open. By allowing the reader to provide closure between each panel the creator is letting the reader take their story and add their imagination to the mix. In the end we are all getting the same content but how the reader creates that content is their choice.

Review of Chapter's 3&4: A look at the concepts of motion, time, and assumptions

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
6. Non-sequintur
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.