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Timing and Action
In chapter 4 McCloud mentions timing between frames, specifically referring to how some comics can contain multiple moments in time (1993, p. 95) as well as motion and action. Eisenstein has a few comics that represent multiple moments in time as well as action and motion
Fig. 7. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 72), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Eisenstein’s memoir contains many comics that have multiple moments in them. As McCloud suggests, these types of comics have “One panel operating as several panels” (1993, p. 97). On page 72 (Fig. 7) there is a comic that contains a scene of her parent’s friends as they think and speak. It is unlikely they could be saying these things all at the same time. On page 73 there is a scene of her playing as a child with others. Most of the children in this scene are speaking, but it is unlikely that they could do so at the same time. The flow of these pictures (left to right, and circular) makes the character action and timing easier to understand.
Fig. 8. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 67), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
McCloud also talks about the history of the various techniques used to imitate motions (1993, pp. 110- 114). Eisenstein uses motion lines sometimes in her comics. For example, in the comic on page 67 (Fig. 8), when her character falls there are motion lines which not only indicate waving limbs but the actual direction she is falling in.
Eisenstein, B. (2006). I was a child of Holocaust survivors. Toronto, On: McClelland & Stewart Ltd.
McCloud, S. (1993). Understanding comics: the invisible art. New York, NY: HarperCollins books.
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