Time = Space (in comics)

Scott McCloud’s seminal book #UnderstandingComics became seminal for a reason—because it’s extremely effective at not only describing formal aspects of comics, but showing them. McCloud’s explanation of how comics can use space to represent time is an illustrative case in point. 1/11 #ComicsStudies

McCloud introduces the unique relationship between time & space in comics early in the book, while explaining the difference between film and animation and the static, juxtaposed art of comics. Here, McCloud declares, “Space does for comics what time does for film!” 2/11

The chapter Time Frames takes up the topic in detail. McCloud opens by invoking a simplified truism about how time functions in comics: that each panel represents a single moment, like stills in a film strip. Then he immediately rejects this truism, saying time in comics is infinitely weirder. 3/11

McCloud’s first example of what he calls the weirdness of time in comics is a party scene, depicted as a single wide panel that includes many individual moments and speech bubbles. There are, McCloud explains, many ways to interpret the passing of time in a panel such as this. 4/11

First, we could use the sound effects and speech bubbles to guide us, inferring duration based on our expectations of what particular sounds sound like or how long it might take a person to say a specific sentence. But we still need to decide: are the sounds and sentences happening simultaneously? 5/11

A second interpretation of how time functions in this scene involves the possibility that we can weave in & out of various sounds & moments. McCloud depicts this weaving as largely linear, moving left to right across the scene. But his image of a winding rope suggests diverse interpretations. 6/11

McCloud then discusses how different types of dialogue bubbles, captions, or lack thereof can affect perceptions of time. Here, the visualization of multiple interpretations of a scene encourages readers to appreciate the concept by experiencing it, making it both realer and more believable. 7/11

McCloud’s visualizations are similarly effective when he discusses how repetition and changing the space & size of panels can alter our perceptions of time. Note how McCloud emphasizes the use of formal elements to cultivate feelings–that is, to suggest meanings rather than prescribe them. 8/11

McCloud continues to redraw his seemingly simple example to show how it can be imbued with depth & diverse meanings. What happens when we remove panel borders? McCloud suggests a lack of boundaries encourages boundless contemplation–of both the scene at hand & the concept he’s illustrating. 9/11

McCloud concludes this part of his discussion of the relationship between time & space in comics by suggesting it could get even weirder. Western readers, McCloud argues, are conditioned to read left to right, top to down, and perceive linearity. But is this necessary? 10/11

McCloud’s closing statement–that comics are ideally positioned to innovate techniques & theories of viewer participation–anticpates major strains of comics studies & media theory. It also underscores his admirably participatory illustration of the subjectiveness of time in comics. 11/11