Comics and Framing
And here we get to one of the important but little considered parts
of the comic vocabulary. The panel and gutter shapes. You see, a comic is not just a serial presentation of images. Each of those images is in a frame of a particular shape, and each shape has a relationship to other shapes on the page. And this is why I like to do full pages instead of a three-panel strip. It's because the full page gives me more freedom to convey information about mood or pace.
The layout of this page juxtaposes two panels of a very conventional layout with a very linear interaction, with three panels of a "crack" layout where everything seems to be happening at once. The panels are odd-shaped, jammed together on the page like the moments of time they represent are jammed together chronologically. They're supposed to convey confusion and uncertainty.
In Jenson's defense, he's effectively blind right now. New eyes take at least thirteen months; nine to grow, one to integrate with the brain, and three months of physical therapy to practice until the neural signals get remapped so his visual cortex will interpret them right. But he's still gotta be pretty clueless to not notice this.
And with this, I think most of the central players for the Third York cast have been introduced. Thirty-one pages, a hundred panels, and I think I'm finally done setting the stage. So we're getting our first fight scene as the Clowns invade the Police station.