Being loud without words – Let’s call it Pantomime Sequential Narrative

The lack of dialogue in sequential storytelling puts an enormous emphasis on actions and settings, making it vital to the story that these are easily comprehensible. The medium doesn’t express emotions and actions in the fluid sense that film does, but still needs to convey these emotions or actions by utilizing the one frame that captures the essence of the action. This demands a certain sophistication and consideration from both the author and reader as they both need to agree on how a few pictures can convey elaborate emotions and intensive actions. This collaboration between reader and author is true in all kinds of storytelling, but in the cases of those without dialogue, it needs to be particularly fine tuned.

“The absence of any dialogue to reinforce action serves to demonstrate the viability of images drawn from common experience”.

— Will Eisner

If executed well, this pantomime storytelling has the possibility of reaching a worldwide audience, giving every reader, regardless of language skills, the possibility of absorbing the story and its message. This is a perfect example of the medium’s power.

I recently went on a short vacation to Palma, Mallorca. Besides the numerous hours spent exploring the towns local galleries and cultural activities wolfing down tapas and sippin’ rum and coke, I took the time to visit the La Seu Cathedral. The cathedral itself was rather breathtaking, but something in the entrance caught my eye. Among a bunch of 13 century paintings of saints and virgins being impaled by arrows, I found a pantomime sequential narrative. A rather gory one.

At a first glance most frames look alike, but after reading it with the focus and concentration that a pantomime story requires, I found that it read surprisingly well because of one main reason: The use of symbolism in order to convey ideas and actions. The artist rendered the action of burning flesh to the simple image of smoke, the action of flogging with an image of a whip, and divinity with a halo. The lack of closeups, and the restrictions of the artist and the canvas makes this usage of graphical elements essential to conveying the story properly. For example, without smoke, skin being burned by a hot iron could be read as simply prodding. Without the halo, a saint turning into a martyr could be a criminal receiving his punishment.

Here’s the photo in higher resolution for those interested in closer peeks.

The story is being created by the reader each time it’s read, making it oh so important for the author to “guide” the reader down the plot he wishes to convey. When dialogue isn’t an option, breaking down actions and items to the essential basics can help the masses of readers interpret the story.

So what are the conclusions I’ve made when it comes to pantomime sequential storytelling? To begin with, it’s a long word. Secondly, it’s important to keep actions and expressions simple and slightly exaggerated, in order to have one pose, item or icon to convey the desired action. Also, to not let environments and scenery disturb the reader from the main message. And lastly, to draw and write for the reader, using all the tools mentioned above to help him form the story. The reader will interpret the imagery according to his own experiences. Help him draw the the right conclusions.

1. Keep actions and expressions simple and slightly exaggerated.

2. Don’t let environments and scenery disturb the reader from the main message.

3. Draw and write for the reader, as he will interpret the imagery according to his own experiences.

I had the intention to create a pantomime story of my own for this article but I’ve unfortunately been swamped in work. I suppose I did find a little time between work, worshiping the sun and complaining I got sunburned. To be honest I actually cheated and found this year old little narrative I drew one rainy day at the country side. It’s simple, not too exciting but works as an example to the guidelines mentioned above.

Here’s a version in higher resolution.

I started with establishing the character in the scenery, still keeping it simple (This is also the place i’ve reserved for the title “Minor Miracles”). Right now the scenery is not that important, as long as I communicate the well, and the boy heading for it, it’s enough for now. Then I take my time to show the boys intent, slowing time by splitting up the action into 3 frames, letting the reader share the boy’s hesitation of dropping the coin. The coin falling receives a high narrow frame to indicate direction and emphasize the action. Next, the three frames stretch out the action of the boy listening, time moving slower indicated by the movement of the clouds, and the boy’s shift in posture. All expressions and body language are exaggerated to really show the boy going from “hopeful” to “surprised” and to later examine the source of his surprise. He then happily walks away, and now the reader is left wondering what made him so content. Finally in the last frame we receive the explanation as to why in absence of the traditional “plop” the coin made a “ding” sound as it hit the bottom of the well. It landed on its edge on a piece of rock. That wish certainly has to come true. It’s almost a little miracle.

Oh, and before I forget. Susan Bernofsky wrote an article for The Wall Street Journal about how the Donald Duck comics change significantly when translated into german. Susan describes how the liberal translations give them further depth and the characters even start quoting poets and authors. This doesn’t really have anything to do with pantomime storytelling, but it was a darn good read.

See for yourself.

I guess that’s it for now. I’ll try and squeeze the next article in a bit quicker than this one. But considering how I did with this one we should all be happy if I can make it a Christmas special.

Featured: Dustin D’Arnault

Below I’ve pasted a few pages from Dustin D’Arnaults comic “Half-man”. A great example of pantomime sequential storytelling, which makes great use of graphic symbols, exaggerated actions and clear composition.

The story involves dramatic chases, memory flashbacks and the main characters interaction with his surroundings. Although it is all presented without the use of words, the story reads very well and the lack of dialogue and descriptions really makes the drama-heavy pages pop. Have a look at Dustin’s site for a sneak peak.

Related links

Portfolio – Dustin d’Arnault
Follow Dustin on his blog Inkmaniac