Plutona - Through the Looking Glass

                       

 

          As I started thinking about the composition of Plutona, I wondered how paneling played a role in the larger picture. At face value, the page layout is a background. It is a form of structure that is subtle. In Understanding Comics by Scott Mccloud, I learned that panel layout could be a powerful tool used to reiterate the message in the comic. Generally, comics are set up in the grid format with white gutters to highlight each panel and guide my eyes from left to right. An artist uses panels as a tool to not only guide, but to control. So, I wondered, what were the creators adamant about controlling within these two pages?

            In Plutona, the panels vary from rectangular to square. Unlike other comic strips, Plutona uses large panels, and sometimes no panels within a tier. One of the things that sound out is the fluidity of the tiers with no panel break. This speeds up the scene, making it a moment-to-moment action, rather than a direction shift. On the first page, there is minimal moment, with the tiers being used to display the room from different angles. I see Ray’s face (the young boy). I notice the bags under his eyes, which stick out in contrast to his light green eyes. I am then guided to the second tier with Ray’s father sleeping on the coach. Starting at the left, I am aware of Ray’s slouched body language; subtly evoking disappointment or contempt. I notice the cigarettes and empty beer bottles on the table, and lastly see Ray’s father. His clothing is minimal, with a great deal of dirt and ruffles on it. With no words, I am forced to grab information from the image. I start formulating ideas about Ray’s family dynamic with his family, and their living condition. I assume Ray’s father doesn’t have a serious job because he is still sleeping, instead of leaving, as Ray gets ready for school. The large panels are blow-ups into the life of Ray. It is character depth without any words. Words and sounds are used in the last panel, but they are very minimal. The first panel on the third tier is when movement really begins. The angle of Ray’s hand seems invasive to me as the reader. The cigarettes fill the page, making me feel angry that a young boy is smoking cigarettes. This tension is used by the creators to emotionally charge the panels. Nicely done.  

            The next page is full of speech bubbles and colour. Mie’s (the young girl) life appears very fast pace and family-oriented. She is seated at the dining table with her family for breakfast. The background gradates from dark to light orange. It is evident that the important on this page is narrative, rather than characterization development. I am not as engaged with Mie’s character in comparison to Ray. I assume this was done intentionally since he appears to be the “bad child” in the story. Mie’s page follows the same panel structure as Ray’s, yet the use of dialogue changes the tone completely. Although both individuals are irritated with their parents, they seem to be living different lives. This plays into the larger theme of the comic about four children, different in lifestyle being unified by something special.