Having seen different ways in which animation can be used as an enriching tool it is necessary to point out that, sometimes, it needs to go hand in hand with sound to allow for a suspension of disbelief. This can easily be seen in Stuart Campbell’s "These memories won’t last”, in which the artist gives an insight into what it’s like to suffer from Alzheimer’s through the memories he shares of his grandfather. There is a scene in which his grandfather is rushed to hospital and the noises and chaos caused by the ambulances trigger a psychotic episode, reminiscent of his time in the war (Campbell 2015) (see Figure 8). The sound of ambulances and shots combined in the background, in the very specific time in which the scenes transition, allows us to understand and experience why this could have happened.
Thompson & Bordwell distinguish two types of sound in relation to comics: diegetic and non-diegetic, depending on whether they exist in the story or outside the story’s real space (Bordwell and Thompson 2008, 284) Examples of non-diegetic sounds would be those used by Daniel Goodbrey in his webcomic “Doodleflak”, in which the transitions and clicks used to navigate the story are accompanied by sound effects that have no impact on the flow of the story (Goodbrey 2002). These sounds could be considered ‘gimmicky’ given that they provide no additional information to the story and are used merely to emphasize the medium. On the other hand, diegetic sounds are those which originate directly from within the story, providing depth to the story world. These enrich the scenes with; background noises, music tracks to set different moods or voice acting, especially popular in motion comics, to replace speech bubbles or narration boxes. Diegetic sounds can be either “on screen or off screen … [(sounds that exist within the story world but not in the specific scene)] …, and internal (subjective) or external (objective) (Bordwell and Thompson 2008, 285).
“The Ocean Is Broken” by Sutu, features live sound recordings of Uummannaq, an island in northern Greenland where the author based his webcomic, and original music composed by the local orchestra. These recordings are used as sound effects and brig the story closer to its origins. A lot of the sound sources, such as the sea waves or splashes, are visible in the scenes, helping bring this elements to life. On the other hand, the music soundtrack, although off screen, sets the mood and builds up a general sense of what the region sounds like (Campbell 2015b) (see Figure 9).
Lastly, diegetic sounds can be internal or external in relation to how accessible they are. This means a sound can be as accessible as the slamming of a door for anyone that was close enough to hear it, or as private as the thoughts of a character. In "Batman Black & White: Here Be Monsters", the episode opens with Batman’s thoughts being acted out loud, while other scenes play in the screen (Beyond The Lot, 2012). It’s clear that while the criminals are running away Batman is neither talking to them nor present in the scene. Using sound instead of isolated speech bubbles in this case helps clarify who the voice belongs to. Clearing the scene and leaving more space for the artwork.
However, the use of sound in digital comics is not always welcome. The foundation for this antagonism lies partially in the traditional method that comic artists use to evoke sound effects. The use of onomatopoeia such as ‘pow’, ‘boom’ and ‘zap’ are a long-standing comic book tradition and have often defined the medium, becoming symbols of the genre as a whole. Therefore, the integration of sound in digital comics, clearly subverts a traditional comic trope that has become synonymous with the medium. Nevertheless, the ability of sound to substitute the need for onomatopoeic inclusions, does not mean that they cannot co-exist. For instance, in the already cited “The Ocean is Broken”, the author employs sound in conjunction with onomatopoeia to reinforce the act being stressed. In fact, the entire purpose of onomatopoeia or the mimicking of sound in traditional comics is a means by which the author could place emphasis on an action, drawing the reader towards it. The ingress of sound in digital comics serves a similar purpose, that of emphasizing the action. Furthermore, it can be argued that the inclusion of onomatopoeia came out of the inability to integrate sounds into a traditional print comic book, therefore sounds in digital comics may come closer to the creator’s intentions and perceived reality than it’s thought. It is understandable however that comic purists feel as if one of the most distinctive features of comics is being threatened.
The integration of sound into digital comics, to co-exist with or replace traditional onomatopoeia is therefore further evidence of the ways in which digital tools can be used to better the experience for both reader and artist.
When using sound in digital comics it is necessary to consider the importance of the sound’s source and its relation to the diegesis. A lack of clarity in its role may lead to confusion. In “Huff n’Puff “ (2017) by Michael Kühni, the story begins with a play button which, once activated, plays a song by The Monsters. The music, which the band classifies as “wild, primitive, chainsaw massacre, teenage trash, garage, clonedrum, fuzz, rock n’ roll” (“The Monsters” n.d.), accompanies the story as the wolf walks through different scenarios setting the story’s mood through the song. The problem lies in the inability to locate the sound inside or outside the story. It’s not made clear whether the song is inside the wolf’s head and is part of his experience, or if it’s an external feature intended to inform the reader. Additionally, the quick pacing of the song is problematic, given that it creates a sense of urgency in the reader, prompting them to read faster and blurring the critical natural pauses of reading comics. The inclusion of sound in this case, evidences the clear need for restraint and control on the author’s behalf, as the reader can often be left feeling as if the additional feature, unique to digital comics, was added simply because it was possible and not as a narrative need.