1. Introduction to Reading Graphic Fiction
As inspired by
Understanding Comics: The Invisible Art
By Scott McCloud

2. Defining Graphic Fiction
“Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer” (17).
Emphasis on aesthetic response
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 17.

3. Defining Graphic Fiction
Non-pictorial icons vs. Pictorial icons
Non-pictorial icons have “fixed and absolute” meaning; appearance does not affect meaning as meaning is never open for interpretation
For example, an M is an M regardless of how its written
Pictures have meaning that is “fluid and variable.”
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 28/1-2.

4. Defining Graphic Fiction
Words vs. Pictorial icons
Words are completely abstract; bear no resemble to actual object
For example, the word “eye” doesn’t appear like an eye
“Bed” may be an exception 
Pictures can have varying degrees of abstraction
For example, compare Da Vinci to Picasso
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 28/3-4.

5. Defining Graphic Fiction
“As we continue to abstract and simplify our image, we are moving further from the ‘real’ face of the photo” (29).
Next question asks why…
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 31/4.

6. CONSIDERATION: Why is this continuum accepted by our eyes?
Why do human beings, young and old, respond as much to an abstract image as to a realistic one?
What is our preoccupation with simplified realities?
Student responses.
McCloud’s response on next slide.

7. Defining Graphic Fiction: McCloud’s Answer
Next question asks why…
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 36/1-2.

8. Defining Graphic Fiction: McCloud’s Answer
Next question asks why…
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 36/3-4.

9. Defining Graphic Fiction: McCloud’s Answer
“The cartoon is a vacuum into which our identity and awareness are pulled, an empty shell that we inhabit which enables us to travel to another realm. We don’t just observe the cartoon, we become it!” (36)
Next question asks why…

11. Graphic Fiction Terminology
Panel: the perimeters into which text and pictorial icons establish action
Gutter: the space between the panels
Bleed: text and pictorial icons establishing action outside of any perimeters
Panel - the perimeters in which text and pictorial icons establish action
(in simplest terms, the shape into which the action/story is divided)
Consider the panel as the “paragraph” of graphic fiction
Borders of panels need not be straight lines; panel itself need not be box
Most often read (in Western graphic novels) from left to right, top to bottom (however, authors sometimes break this rule for a particular effect.
For example, in Maus, targeted Jews are drawn in Stars of David in lieu of rectangles
Gutter: the space between the panels; the pause in which the author suspends the action for some effect
Bleed: text and pictorial icons establishing action outside of any perimeters; creates a feel of limitless action and suspended time
Visual examples to follow

12. Graphic Fiction Terminology: Panel
Panel - the perimeters in which text and pictorial icons establish action
(in simplest terms, the shape into which the action/story is divided)
Consider the panel as the “paragraph” of graphic fiction
Borders of panels need not be straight lines; panel itself need not be box
Most often read (in Western graphic novels) from left to right, top to bottom (however, authors sometimes break this rule for a particular effect.
For example, in Maus, targeted Jews are drawn in Stars of David in lieu of rectangles
Source: Kazu Kibuishi, Daisy Kutter: The Last Train (Viper Comics, 2005): 126/1-7.

13. Graphic Fiction Terminology: Gutter
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 67/2.
Gutter: the space between the panels; the pause in which the author suspends the action for some effect
In the above example, the movement between the panels is not presented by the author; however, the reader fills in the gaps in the progression of action

14. Graphic Fiction Terminology: Bleed
Bleed: text and pictorial icons establishing action outside of any perimeters; creates a feel of limitless action and suspended time
The hand bleed in The Filth example (actually, a “full bleed” because it takes the entire page) was done, in the author’s own words, to show the pen’s ability to “burst the confines” and make the reader feel the intensity of the action finally being unleashed.
Source: Grant Morrison, The Filth. (Virtego, 2004):

15. Terminology to Create Time
Readers of Graphic Fiction automatically view the text and pictorial icons on the page as a conversation. The panels move like phrases and pauses in this conversation. We are prone to assigning equal seconds to each panel and pause. The author, then, can manipulate this natural manner of reading to shorten and lengthen time.
Furthermore, the author can use the gutter to ask the reader to fill in the gaps, use his or her imagination. The gutter becomes time that has passes that we have not, for whatever reason noticed.
Finally, the bleed can suspend time, making the reader feel the boundery-less-ness of life and universe.
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 100/1..

16. CHALLENGE:
Examine the effect(s) of the author’s use of panels, gutter, and bleeds in the following examples:
Student responses.
McCloud’s response on next slide.

17. Terminology to Create Time: Example One
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 66/1-2.

18. Terminology to Create Time: McCloud’s Answer
The author does
not kill the victim;
the reader does.
The reader
becomes “a silent
accomplice… an
equal partner in
crime” (68)
In the gutter example above, the author does not kill the victim; the reader does. The reader becomes “a silent accomplice… an equal partner in crime” (68). She or he determines where the axe falls. The author simply uses the gutter to prompt a reaction in the imagination of the reader. The author manipulates the “limbo” of the gutter to give the reader as much time as needed to finish the gruesome act.
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 66/1-3.

19. Terminology to Create Time: Example Two
(bleeds off page)
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 103/3.

20. Terminology to Create Time: McCloud’s Answer
(bleeds off page)
The previous example offers “no clues as to its duration.” Because readers cannot easily assign time to the boundary-less bleed, “its unresolved nature… may linger in [our] minds and its presence may be felt in the panels which follow it” (102).
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 103/1-3.

21. Terminology to Create Time: Example Three
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 100/9.

22. Terminology to Create Time: McCloud’s Answer
Vs.
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): /9,1.

24. Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 118/2.

25. Use of Line to Present Emotion
“The idea that a picture can evoke an emotional or sensual response in the viewer is vital to the art of comics” (121).
“In truth, don’t all lines carry with them an expressive potential?” (124)

26. Use of Line to Present Emotion
All lines, therefore, are used by the author to express particular emotions and/or sensations
vs vs.
WORD vs. WORD

27. Use of Line to Present Emotion
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 125/1-8.

28. CHALLENGE: Draw… Grimness Whimsy Betrayal Insanity
Students attempt to draw four states of being (next slide will present examples of these states from graphic artists).

29. Use of Line to Present Emotion: McCloud’s Answer
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 126/1-4.

31. Art + Literature
Despite the fact that words and pictures were merged for significant amounts of time in our history, somehow now, when put together, they become “low art.” (Honestly, as teachers planning this course, we struggled with this same mentality).
“Great” writing and “great” art have, in modern times, existed largely as separate entities.
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 140/1.
“As children, our first books had pictures… because that was ‘easier’’’ (140).

32. Art + Literature
When art and literature are worked together properly, the additive combination of the two can present meaning beyond what each form could accomplish on its own.
Four main additive combinations are:
* Amplify * Montage
* Parallel * Interdependent

33. Art + Literature: Amplify
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 154/1.

34. Art + Literature: Parallel
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 154/2.

35. Art + Literature: Montage
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 154/3.

36. Art + Literature: Interdependent
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 155/1-7.

37. CHALLENGE:
In the next few minutes, write a short selection of text to amplify, parallel, and/or be interdependent to the following panels.
Student responses.
McCloud’s response on next slide.

38. CHALLENGE: Student responses. McCloud’s response on next slide.
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 157/4-8.

39. Art + Literature: McCloud’s Answer
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 160/1-5.

40. Art + Literature: McCloud’s Answer
Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 160/7-10.