As I started reading “Understanding Comics” by Scott McCloud, I couldn’t help but remember reading a book written in a similar fashion which went over the concepts and ideas of Nietzsche. The book was like a simple introduction to Nietzsche by using a comic-like structure which was heavily based on illustrations. With “Understanding Comics,” the technique was utilized even better with the books subject matter. I think everyone would agree the illustration heavy format invites readers and promotes an easier read, however, more importantly I think this format was necessary in relation to its subject matter. Obviously many of the images were simply to please the eyes and entertain the reader, most of the illustrations work with McCloud’s explanations and theories in order to drive his points home.
McCloud makes a couple of points that I really found interesting. In chapter 2, he talks about how quickly our minds tend to associate imagery. We see symbols and signs which to some, based upon their exposure/understanding to these symbols, would just see lines or a random image. Yet based upon all our experiences and understanding we immediately (and as McCloud also states, are forced) to make a specific association. Additionally, I found it really interesting when McCloud talked about how simplistic characters can draw attention away from themselves and more towards the ideals they represent. In that sense, many comics only appear to be simplistic, yet can indeed be very deep based on the ideas or points being relayed to its readers.
I really like McCloud’s statements at the end of Chapter 3. As he sums up the chapter, I began to think heavily on the freedom given to readers of comics. The gutter, in some cases, provides a window for the reader to expand upon the story and invites imagination to take center stage. The idea of filling in the gutter can be applied to so many things, especially within the realm of art. As soon as I read this segment, something quickly came to mind. I recently watched the Coen Brother’s No Country for Old Men again. At the end, the film has Anton and Carla Jean together in a house. It goes from the two together, talking about if he is going to kill her, yet cuts to an exterior leaving out the actions which took place. Anton exists the house where Carla Jean was in and the audience wonders what happened. The gutter here is ambiguous and leaves the audience to question the actions that just took place. Using prior scenes, the audience can make a better judgment of what happened inside the house, yet one must use their imagination in order to fill in their own details.