Randheer Edachery

TABLE OF CONTENTS

INTRODUCTION...... Pg 1

PANEL ANALYSIS..Pg 2

ICONOGRAPHY ANALYSISPg 5

WORDS AND IMAGERY ANALYSIS.Pg 7

DIALOGUE AND COLOUR ANALYSIS.Pg 8

CONCLUSIONPg 9

BIBLIOGRAPHY.Pg 9

ANALYSIS : THE DARK KNIGHT RETURNS

INTRODUCTION

My first indulgence into the world of comics, as far as I can remember, was these tiny strips of The Phantom printed on some obscure magazine. As a child growing up in India, and despite having a laughable command of the language, I was fascinated and immersed by the plot, the sloshes of color, and those tiny little dialogue balloons. In hindsight, I can see that the comic actually transcended the barriers of language, and was able to establish and covey a connection (however meager) through color and imagery alone.

Up until a few weeks back, I only had a rudimentary hold on the concepts and semiotics behind the creation of a comic book. McClouds Understanding Comics has effectively uncovered a world behind the words and between the frames. Among other aspects, it highlights the delicate nature of image and word placement, panel-by-panel breakdowns, finished captions and other quintessential techniques of the creative process. In this essay, I hope to reveal the tactics employed in the creation of The Dark Knight Rises, in accordance with McClouds analytical tools. My analysis of the comics form will be segmented according to panel transitions, iconographic imagery, correlation between words and images, and the subtleties of dialogue boxes and color.

As defined by McCloud, comics are narratives that present a story through images and the use of sequential art. This particular graphic novel deals with an alternate reality scenario, where the Batman is forced to come out of a long retirement. At the age of 60, he battles his own physical and mental limitations in order to help the people of Gotham from drowning itself in chaos.

ANALYSIS OF PANELS

The first aspect that I would like to analyze, in accordance with McClouds principles, is the varying differences in panel sizes and its subsequent implications.

Miller has utilized a variety of panel styles and sizes in the creation of this novel. The shapes that the panels take are of significant importance. The panels often are shown as separate with the recognizable white gap between them. However we often see them outlined with just a black line between them or within a different panel. At times we also observe transitions from a panel to a new one without a separation in between.

Specific note should go the panels dedicated to portray television news feeds. The shape is deliberately chosen in order to mirror an actual television, and the accompanying dialogue is displayed alongside like words out of a transcript machine.

The artist uses two main techniques of incorporating the news channel into the story, either by dedicating separate panels to the TV broadcast, or by showing the TV panel within a bigger panel indicating that the two are taking place at the same time.

Transitions between panels play a vital role in the overall impact of a scene, and in dictating a specific time line of events. The transitions from panel to panel generally follow 3 particular progressions, and are comprised of action to action subject to subject and aspect to aspect. Frank Miller has used a plethora of different panel transitions in accordance with various scenes, depicting different lapses of time. With each transition, readers are expected to have a varying level of involvement with regards to the events taking place. Usually transitions vary depending on the message they need to send, and the details the artist needs the audience to focus on.

According to McCloud, this mental process of calculated discernment from the reader is referred to as closure. Comic panels fracture both time and space, offering a jagged staccato rhythm of unconnected moments. But closure allows us to connect these moments and mentally construct a continuous unified reality. (McCloud)

Seen in the illustration above, is an example of a subject to subject transition of panels is used. Effectively depicted in the picture above, which shows the sequence of tiny events which leads Superman to doubt the authenticity of Batmans death. Beginning with an image of a slight change in heart rate, followed by images of Superman cycling through various stages of confusion, and then the inevitable dawn of realization all this carefully punctuated with batmans heart rate. The frames ensure that the reader is taken carefully, and effectively, through the chain of actions and emotions which lead Superman with his discovery.

There are fewer examples of action to action panels, where panels follow the progression of related events, within a strict time-code, until its conclusion. This mode of transition is especially useful in displaying events happening in quick succession, one after the other. As compared to other methods, Miller implements relatively fewer action to action transitions. Also implemented in the novel, is the use of aspect-to-aspect transitions to describe specific locations and its characteristics.

However, the dominant mode of panel to panel transition that is used is moment to moment progressions. It requires very little closure and, as shown here in the picture below, follows a event or object through a short span of time. It doesnt require much reader involvement in order to render the transitions meaningful, just a close eye to follow the emphasized event. In this example, moment to moment transitions are used to show the series of events that occurred before the shooting of Batmans parents. The attention to detail effectively reflects and conveys the magnitude of the impact that this memory has had on the Batman.

ANALYSIS OF ICONS

The next aspect that Id like to draw attention to is the use of intricate detail in the novels imagery and iconography. The images used in this comic convey an underlying element of chaos and disorder, imprinted into the audience by the use of unorthodox drawing styles. Imperfection is made brutally apparent, in comparison to other works which employ photo realistic painting styles and other traditional methods. Characters are shown with grossly misshaped faces and features, and this effectively reflects the general motif of the novel and Gotham City - That of apocalyptic destruction and an abyss of chaos.

Smaller, insignificant characters are shown with dull, generic facial features in order to form contrast with the richly detailed main characters. Although not a typical example of amplification through simplification, it serves to prove the point that highlights the likes of Batman, Gordon and Robin as characters of extreme significance. The images of Batman and Robin are amplified, given the context of extraneous characters which were created simplistically. Thus, the viewer is immediately aware and conscious of any dramatic emphasis on the protagonists. The mutants, on the other hand, are pictured in gory vagueness with fundamental facial elements of evil. From small beady eyes and missing noses, to razor sharp teeth, elements of violence and chaos are effectively depicted to the reader.

There are other, more orthodox, instances whereby Frank Miller utilizes the concept of amplification through simplification. Take, for example, the frames on the right which shows Superman stopping an enemy missile. Instead of eliminating details, Miller has instead chosen to focus on specific details. In this case, the red of Supermans cloak and the Red star embroidering the nuke. The missile is depicted as a large black mass, on which a red star is the only comprehensible symbol. By stripping down an image to its essential meaning, the artist amplifies that meaning. By isolating the red, Miller has amplified both the strength and significance of Superman, and concurrently amplified the threat posed by the missile. It strips down the battle between two monoliths, to a battle between two red symbols and consequently equates the two.

ANALYSIS OF WORDS IN CORRELATION WITH IMAGES

The graphic novel Dark Knight Returns is fairly diverse when it comes to combining words and images. Different panels follow different combination categories. Among these, the tactics of establishing interdependency between images and words is most common.

Miller also implements tactics of parallelism in combining words and images, where actions and events seem to follow different courses without intersecting (McCloud). This is clearly visible in the picture left, where Miller attempts to lead us through parallel thought processes of the Batman; while also including segments of a news narrative. All in the space of a few frames, the images are correlated to the words, and two separate thought processes are eventually joined together in a climactic realization. This climax is conveyed by imagery using the close-up of a vicious bats face.

Interesting to note, is the fact that the close-up images of the bat are recurrent throughout the novel in order to reflect and invoke the sensation that Bruce Wayne (Alter ego) felt, as he first saw a bat. These occur only when Batman is in retrospect. When accompanied with dialogue, this is an example of the additive practice of correlating words and images. As illustrated below, there are other instances of which Miller has resorted to using words to amplify or elaborate an image, or vice versa. In this case, the sound of the helicopter works hand in hand with the decreasing frame size. This effectively paints a picture of a helicopter disappearing into the horizon, complete with the fading soundtrack.

ANALYSIS OF DIALOGUE BOXES AND COLOUR.

Frank Miller has also implemented more subtle techniques of manipulating the comic form, in order to establish contextual precedence with the reader. Sound effects are visibly clear appearing in bigger letters and brighter colors to get the audiences attention. With regards to certain aspects of the dialogue, he has dictated continuity throughout the novel by depicting Batmans thoughts in grey. Therefore the user can immediately recognize the color, apply it within context, and calculate that Batman is behind the dialogue. Likewise, Robins thoughts are perpetually conveyed in light yellow, Superman in blue and, Joker in green. This alludes to McClouds notion that while comics colors were less than expressionistic, they were fixed with a new iconic power. Because costume colors remained exactly the same, panel after panel, they came to symbolize characters in the mind of the reader (McCloud)

CONCLUSION

All in all, McClouds book is revealing in the sense that it helps the reader uncover a whole myriad of underlying meanings and intentions. Tactics that are stated and described, are clearly visible as implemented in the Dark Knight Returns. These methods have effectively aided Miller in writing a story, and developing a plot, that is immersive, descriptive, and requires utmost attention from the reader. From panel transitions, to subtle differences in text and color, McClouds analytical tools have helped identify and isolate various strategies. These strategies can clearly be seen as integral and pivotal to the story telling function of the graphic novel. On a personal level, these strategies has provided insight into how comic books had managed to transcend the language barrier and establish a connection with me, all those years ago when I was a child, and leave a lasting impression.

Bibliography

Scott McCloud, Understanding Comics : The Invisible Art, 1993.

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