Comic Book Analysis

action-to-action

• the same subject is seen in multiple phases of performing a single action

• bypasses time for the most part and sets a wandering eye on different aspects of an idea, place, or mood

• provides additional, subtextual information for the reader

• color scheme in which the ideas BEHIND the art are communicated more directly

moment-to-moment

• the same subject is seen in multiple phases of performing a single action

• bypasses time for the most part and sets a wandering eye on different aspects of an idea, place, or mood

• transitions in which the panels display a progression in time from one instant to the next, smallest amount of closure required.

• transition in which there is no clear correlation between panels

non-sequitur

• the same subject is seen in multiple phases of performing a single action

• bypasses time for the most part and sets a wandering eye on different aspects of an idea, place, or mood

• transitions in which the panels display a progression in time from one instant to the next, smallest amount of closure required.

• transition in which there is no clear correlation between panels

aspect-to-aspect

• the same subject is seen in multiple phases of performing a single action

• bypasses time for the most part and sets a wandering eye on different aspects of an idea, place, or mood

• provides additional, subtextual information for the reader

• color scheme in which the ideas BEHIND the art are communicated more directly

background

• the same subject is seen in multiple phases of performing a single action

• bypasses time for the most part and sets a wandering eye on different aspects of an idea, place, or mood

• provides additional, subtextual information for the reader

• color scheme in which the ideas BEHIND the art are communicated more directly

black and white

• the same subject is seen in multiple phases of performing a single action

• bypasses time for the most part and sets a wandering eye on different aspects of an idea, place, or mood

• provides additional, subtextual information for the reader

• color scheme in which the ideas BEHIND the art are communicated more directly

bleed

• an image that extends to and/or beyond the frame onto the edge of the page; image sticking out of the frame

• boxes containing a variety of text elements, including scene setting, description, etc.; the narrator usually speaks here

• the reader's mentally filling in the gaps of what happens between panels; the reader's completion of meaning between panels

• color schemes that objectify their subjects; we become more aware of the physical form of objects than in black and white

captions

• an image that extends to and/or beyond the frame onto the edge of the page; image sticking out of the frame

• boxes containing a variety of text elements, including scene setting, description, etc.; the narrator usually speaks here

• the reader's mentally filling in the gaps of what happens between panels; the reader's completion of meaning between panels

• color schemes that objectify their subjects; we become more aware of the physical form of objects than in black and white

closure

• an image that extends to and/or beyond the frame onto the edge of the page; image sticking out of the frame

• boxes containing a variety of text elements, including scene setting, description, etc.; the narrator usually speaks here

• the reader's mentally filling in the gaps of what happens between panels; the reader's completion of meaning between panels

• color schemes that objectify their subjects; we become more aware of the physical form of objects than in black and white

colors

• an image that extends to and/or beyond the frame onto the edge of the page; image sticking out of the frame

• boxes containing a variety of text elements, including scene setting, description, etc.; the narrator usually speaks here

• the reader's mentally filling in the gaps of what happens between panels; the reader's completion of meaning between panels

• color schemes that objectify their subjects; we become more aware of the physical form of objects than in black and white