In his analysis of The Sandman, for example, Jon Pendergast reveals Gaiman’s investment in the Renaissance drama. His stories echo with embedded narratives (for better and worse) from the Western canon, taken from folktales, communal memory and displaced into something that feels fresh even though it’s not completely brand new. There are literal and metaphorical gutters running through all of Gaiman’s books. Tabachnick identifies how these gutters activate readers imaginations:Ĭlosure as McCloud uses it means that the gutters or empty spaces between panels in works of sequential art force the reader to imagine what transpires between the panels themselves, and he describes several degrees of reader involvement based on the different types of panels employed by the creator in a given situation…The implication then is that by their very nature graphic ‘novels,’ whether fictional or nonfictional, call strongly upon the reader’s own interactive participation not only to understand, but to complete the work done by the creator. The gaps that open within and between adaptations of his work allows for readers to enter and move rather freely, a notion that mirrors Scott McCloud’s provocations on the gutter-the negative space between panels-in graphic novels.
0 Comments
Leave a Reply. |