In the discussion thread that followed Ezra Claytan Daniel’s “The Digital Comics Manifesto” which derived from the manifesto’s third statement “A Digital Comic should never take temporal control from the reader”(Claytan n.d.), members of the forum went on to discuss that there are certain ways in which multimedia can be used without interfering in the control of time. For example, in “Our Toyota was fantastic”, the author uses limited animations to create GIFs (image format that supports animation) that make the landscape look like it’s moving as the car passes and lights reflect inside it (Roussel 2013) (see Figure 1) , without giving away the plot. In the discussion, the animation is accused of making the rest of the sequences redundant, since it could all be shown in one moving scene, which would turn it into a cartoon. It is important to find the point in which the tool is simply adding background information instead of carrying the entire plot. A good way to find out is to question whether that comic makes sense printed or whether images relevant to the storyline are missing if a panel is frozen. In the case of Our Toyota Was Fantastic, if the panels were to be printed it would still be comprehensive. Whereas if the animation was of the car driving and taking a turn, it would be incomprehensible in a printed format because there would be plot-relevant panels missing from the page. In the former case, the animation isn’t solving the gutter (or the connection between panels) but rather elongating the narrative possibilities of the single panel itself.
On the other hand, in assessing the navigation and layout of digital comics, Yves Bigerel insists that the strength of digital comics is not in that of using animation itself but rather using the flexibility of digital layout to create the effect of movement (see Figure 4). Other tools such as cross dissolve transitions and panel zooms are discredited as he claims they pose an unnecessary distraction to the story (Bigerel 2009). Analysis such as that of Bigerel allow us to begin to define and differentiate digital comics that successfully use the digital medium and those that do not.
Another factor that was mentioned was the necessity for the animations to, if on loop, truly give the sense that the action is continuous. This is because loops cancel out any sense of time if the ends aren’t tied together. “Moontagne” manages to maintain temporal order through all its panels. At the beginning, the main character knocks on a door and the action has been looped so that it looks like the character never stops knocking (see Figure 2). However, towards the end there’s a panel in which, after the characters reach the moon and are contemplating the horizon, the sun rises, bringing light with it. But once it reaches the top it is made to come back down again bringing darkness, this is repeated continuously (Langevin, 2014) (see Figure 3). This creates a problem for the time line for two reasons: the first being that an object that carries time within it is the focus of the animation (the movement of the sun means movement of time) and therefore there are expectations created that the sun will bring the day with it that are not matched. Additionally, the fact that the gif is looped by reversing the action the sun is carrying out, which makes it look like the action is being rewound and played again rather than it naturally reoccurring.
Another type of comic that use animation are motion comics, they combine characteristics of the printed comic with those of the moving image (such as voice acting, sound effects and animated transitions). Batman Black & White: Perpetual Mourning is a motion comic adaptation of Ted McKeever’s famous comic directed by Ian Kirby. The story is told through the same artwork that appears in the print comic (see Figure 5) with minimum alterations. However, the motion comic transforms each panel into full scenes, and uses animation to mimic a camera that pans across the shot. This creates suspense adding an extra layer to the story. As can be seen in the opening scene, for example, where we see a street light initially, and as the camera pans down, the street signs “faith street” and “no way” dramatically appear (Beyond The Lot 2013, pt. 0:08)(see Figure 6). Through motion comics the pacing of the story can be meticulously controlled, taking control away from the reader. This is the focus of argument for many people, as it seemingly cancels out one of the fundamental bases of comics. However, it can be a way through which the artist can control the speed so nothing is ignored or quickly glanced at, as well as to establish the creator's special points of interest.
Animation is also used to surprise and shock the reader. In “Bongcheon-Dong Ghost” (Horang 2011), the horror webtoon by studio Horang, the scenes are static and slow until the jump scare, in which ten panels are triggered to show up in quick succession, creating a rudimentary illusion of movement (see Figure 7).
This is effective because it introduces a new aspect to the comic, catching the reader by surprise. It also takes navigational control away from the reader, building up the anxiety created by the plot. This is a way to surprise the reader that wouldn’t have been possible in its print format, since all the scenes are revealed from the beginning.
“Broken Saints” is another example of alternate uses of animation. The award-winning motion comic created by Brooke Burgess (2001-2003) uses the tool to create transitions that enrich the narrative by making smoother connections between scenes or foreshadowing plot twists. It also animates the scenes themselves, blurring the line between animated comic and cartoon. For example, in the first part of the story, as the protagonist says: “I am not afraid of what must come. I have never known fear in this place, but something is lurking… It gnaws, and snarls, and gnashes its teeth-fighting to be free”(Burgess 2001) the scene transitions into images of shadows and beasts, giving her words more depth and mystery.
It is therefore evident that, through animated scenes, transitions and camera movement, a comic can deliver a more dynamic and direct story, enabling new possibilities for the medium.
[Fig.5] McKeever, T. 'Perpetual Mourning' (1996) Batman Black & White, 1 June, 1.