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Understanding Comics

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Understanding Comics TIME AND NARRATIVE IN DEPTHLESS VISUAL MEDIA By CHRISTOPHER THOMAS EKLUND A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 © 2009 Christopher Thomas Eklund 2 To Nikki, for sharing Blankets, Cages, and a Life with me, Kevin for Starry Wisdom, And Donald D. for Counter-Apocalyptic Resistances 3 ACKNOWLEDGMENTS I would like to thank my committee for their help, input and understanding, and my Chair in particular for guidance, feedback, and support beyond all reasonable expectations. I would also like to thank the staff of Smathers Library, especially Special Collections, for their help and for the opportunity to become involved with library exhibitions; the entire American Studies department at Purdue for taking a chance on me; Ruth Salvaggio and Janet Afary for mentoring; then English office staff and so many others in the university without whom I never would have finished this dissertation. My love and gratitude go out to my parents for nurturing in me the complementary loves of reading and learning, to my friends for commiseration and serving as sounding boards, and especially to my wife, Nikki, for brilliance, love, insight, beauty, and German’s chocolate cake. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...................................................................................................... 4 LIST OF FIGURES .............................................................................................................. 6 ABSTRACT........................................................................................................................ 11 CHAPTER 1 PROCRUSTEAN BEDS AND PANEL BORDERS .................................................... 13 2 FLATNESS, VECTORS, AND PROCESS................................................................. 47 Vanishing Point: Dürer’s Melencholia I ...................................................................... 53 Fourfold Anarchy: William Blake’s Marriage of Heaven and Hell ............................. 63 Vector Analysis of Comics .......................................................................................... 73 3 SCHIZOANALYSIS OF THE PAGE: TIME, BODIES AND A LIFE IN THE WORK OF ALEX ROBINSON, HONORÉ DAUMIER AND DAVE SIM .................. 112 The Pool of Time in Alex Robinson’s Too Cool to be Forgotten ............................. 118 Two Regimes of the Comics Page: Cutting Up and Sinking Below ........................ 135 The Muse or the Viper: The Chaosmotic Female in Les Bas Bleus and Cerebus . 137 A Life on the Page .................................................................................................... 156 4 STRUCTURES OF TIME AND PROCESSUAL NARRATIVE ................................ 181 Several Kinds of Time in Digital Media .................................................................... 186 Becoming Dragon: Postcolonial Fantasy ................................................................. 200 5 CASE STUDY: THE KOHEN GADOL HAS HORNS .............................................. 232 Structures of Time in Dominions 3 ........................................................................... 235 Life Goes On...Until It Doesn’t .................................................................................. 236 The Book of Giants ................................................................................................... 238 The Lost Tribe ........................................................................................................... 250 LIST OF REFERENCES ................................................................................................. 268 BIOGRAPHICAL SKETCH.............................................................................................. 273 5 LIST OF FIGURES Figure page 1-1 Eisner's masterful page composition in Life on Another Planet, here reproduced from his Comics and Sequential Art. ................................................. 42 1-2 the “film analogy” in McCloud's Understanding Comics. ...................................... 43 1-3 McCloud’s take on abstraction in art. .................................................................... 44 1-4 this is the panel that McCloud argues is not comics because it is one single panel, but would be if subdivided (into multiple panels). ...................................... 44 1-5 the original Carl cartoon from Understanding Comics, other elements on this page omitted for clarity. .......................................................................................... 45 1-6 Honoré Daumier's Le Dernier Bain. ....................................................................... 46 1-7 same with lines showing the triangle formed by the man’s flat-footed stance, heels on the ground. .............................................................................................. 46 2-1 de Kooning’s Woman and Bicycle ......................................................................... 87 2-2 de Kooning's Woman with a Green and Beige Background ................................. 88 2-3 layering of paint, wash and varnish (enlarged) from Elkin's What Painting Is ..... 89 2-4 perspective diagram from Panofsky's Perspective as Symbolic Form................. 90 2-5 T and O map from Edgerton’s The Mirror, the Window, and the Telescope ....... 90 2-6 Durer, illustration from his Four Books on Measurement ..................................... 91 2-7 Durer, St. Jerome in his Cell .................................................................................. 91 2-8 Durer, The Nativity ................................................................................................. 92 2-9 Durer, Melencolia I. ................................................................................................ 93 2-10 Figure from Edgerton’s The Mirror, the Window, and the Telescope................... 94 2-11 Figure from Edgerton’s The Mirror, the Window, and the Telescope................... 94 2-12 Durer’s Melencholia I, with the vanishing point circled ......................................... 95 2-13 Blake, The Marriage of Heaven and Hell, plate 20, copy C.................................. 96 2-14 Blake, The Marriage of Heaven and Hell, plate 20, copy H.................................. 97 6 2-15 Blake, The Marriage of Heaven and Hell, plate 20, copy G ................................. 98 2-16 Blake, The Marriage of Heaven and Hell, plate 20, copy I ................................... 99 2-17 Blake, The Marriage of Heaven and Hell, plate 20, copy D................................ 100 2-18 Blake, The Marriage of Heaven and Hell, plate 20, copy F ................................ 101 2-19 “Vacation Time” splash page, from The Carl Barks Library................................ 102 2-20 Mondrian, Composition with Large Blue Plane, Red, Black, Yellow, and Gray . 103 2-21 Brunetti, P. Mondrian ........................................................................................... 104 2-22 Baker, from Sparrow's Fall ................................................................................... 105 2-23 Moore and White, from The Reversible Man ...................................................... 106 2-24 Moore and Williams, from Promethea ................................................................. 107 2-25 Moore and Williams, from Promethea ................................................................. 108 2-26 Moore and O'Neil, from “Tygers” ......................................................................... 109 2-27 Moore and O'Neil, from “Tygers” ......................................................................... 110 2-28 Moore and O’Neil, from “Tygers” ......................................................................... 111 3-1 concrete poetry and a “universe of reference” in Robinson’s Too Cool to Be Forgotten .............................................................................................................. 158 3-2 fragments of a life: the composition of Andy’s dad (left) and teenage Andy (right) out of moments of their shared history, the rest of which is “lost” beneath the page ................................................................................................. 159 3-3 pages structured primarily by lines other than panel borders, with Andy’s dad dropping off of the bottom of page 86 ................................................................. 160 3-4 Adult Andy’s projection above the (normal) projection of the panel borders, and his recuperation into them ............................................................................ 161 3-5 return to the typical style of Too Cool to be Forgotten, after p. 86-9 .................. 162 3-6 along the bottom of page 72, a wooden railing doubles as a panel border, and in the center of 72-3, an unsteady, curving panel indicates both intoxication and male sexual arousal................................................................... 163 3-7 adult Andy’s face reflected in the portrait of him with his parents, though this scene takes place while he is teenage Andy ...................................................... 164 7 3-8 teenage Andy’s first look at the pictures in his family’s home ............................ 165 3-9 the infamous Jyllands Posten “Muhammad cartoon” page ................................ 166 3-10 part of Weinman’s “great lawgivers” frieze behind the bench of the United
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