Psychological Space in Comics

The Psychological Space of Comics

by James Davidge

An image can make us feel

trapped...

Bob Layton, Secret Wars #4, 1984

…unstoppable…

Alex Ross after Mike Zeck, Secret Wars, 2008

…and conflicted.

David Mazzucchelli, Asterios Polyp, 2009

Every comic page is a layout of panels that provide structure, pace and mood.

Chris Ware, Jimmy Corrigan, 2000

Panel shapes can contrast. Borders changing to communicate different states.

Movement can be jarringly simulated.

Art Spiegelman, In the Shadow of No Towers, 2004

Tensions can be developed with an intricate page design…

George Pérez, ArtistMarv Wolfman, WriterCrisis on Infinite Earths # 6, 1985

…angles can be manipulated to force perspective and heighten emotion….

Stephen Bissette & John Totleben, ArtistsAlan Moore, WriterSwamp Thing # 21, 1983

…while stresses can be relieved with a classic splash page.

Phil Jimenez, ArtistGeoff Johns, WriterInfinite Crisis, 2005

Don’t forget the double page spread for special occasions.

A gentle reminder:

Scott McCloud, Understanding Comics, 1993

A few techniques:

repetition

empty space

words only

close up

Keith Giffen,DC Comics Presents #81, 1983

and innovation.

J.H. Williams III, Artist, Alan Moore, Writer, Promethea #15, 2001

Cover Images Will Eisner, The Spirit “Fox at Bay”, 1949Roy Lichtenstein, In the Car, 1963

Double Page SpreadJack Kirby, The Forever People #1, 1971

To learn more about the prose and comic work of James Davidge, please visit:www.jamesdavidge.blogspot.com