Transitions

Design Resource

The Grammar and Vocabulary of Comics

The linguistics of Comics

Transitions

• Transitions between panels
• 'Blood in the Gutter'

As specified in the introduction, McCloud (1993) classifies the transitions between panels as the grammar of comics. Let us look at each of these six transitions, as identified by McCloud, in detail. These are:

1) Moment-to-moment, where hardly any change takes place between the two panels. It is “a single action portrayed in a series of moments.” (see fig. 3.1, 3.2 and 3.3)

This is the most micro-level transition, where not much time passes between panels, almost as if time is in slow motion. It is usually used to give detailed focus on a single subject, or to a certain part of that subject. For example, focusing on a face and then showing a subtle change in expression would be a moment-to-moment transition.

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2) Action-to-action, where the actions/series of actions of a single subject are shown. (see fig. 3.4 and 3.5)

This is usually the most common panel-to-panel transition in comics. The point of focus is still a single subject, but time passes faster, as the subject goes through a series of actions, while the reader follows that subject. There may even be minor changes of scene as we follow the subject around, but in most cases, it will logically be a single scene/location where the same subject goes through a number of actions.

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3) Subject-to-subject, which transitions between different subjects in the same scene, “a series of changing subjects within a single scene”. (see fig. 3.6 and 3.7)

Here, the scene remains the same, while we move across different subjects that comprise that scene. A useful transition to show people in a conversation, their reaction to what is being said, or even to lay the ground for a particular setting. For example, a scene of a party where each panel focuses on a different subject to show what they are thinking about the rest of the people there. This is also a fairly common transition.

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4) Scene-to-scene, which “transports us across significant distances of time and space.” (see fig. 3.8)

While not so common as the previously mentioned action-to-action and subject-to-subject transitions, the scene-to-scene transition is useful in advancing your story without spending too much time on narration or details. The reader is allowed to assume that a certain event has occurred between the often large period of time that passes between two panels in this case. Of course, a logical relationship is already established by preceding panels, which is what differentiates this transition from the non-sequitur transition described in point 6 below.

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5) Aspect-to-aspect, which “transitions from one aspect of a place, idea or mood to another”. It “bypasses time for the most part…” (see 3.9)

This is a non-temporal transition, and can be used to show a single scene / subject in many ways, or even in dream/imaginary sequences.

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6) Non-sequitur, “which offers no logical relationship between panels whatsoever.” (see 3.10)

It must be noted, of course, that while there is apparently no relationship between panels in the immediate moment, one may be established as the story/ plot/ narration progresses.

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Perhaps more important than the mechanics of the transitions is the way in which the reader reacts to these transitions. McCloud himself uses the phrase "blood in the gutter" to illustrate an example where we see a panel with a man holding a knife, and in the other, just 'hear' (or more accurately, read) a scream. The gutter here refers to the space between panels, which also stands for the time or even distance that elapses in the narrative from one panel to the next. What happens between those two panels is left for the reader to understand.

McCloud calls this idea of letting the reader fill in gaps in the narrative as “closure”, and identifies it as the most important way in which comic books further their narratives. This is how most readers become a part of the narrative itself in sequential art. The reader of comic books is thus much more than just a passive consumer, he is involved in the very act of storytelling.

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The Grammar and Vocabulary of Comics