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Putting onself in situation

Irene Minovas

Text included in the publication Fondos


Any action requires a space and a time in which to take place. These two physically inseparable elements of the action can get to tell us more about the action than the action itself. The situation of an action in a spatial and temporal scenario supports and justifies it within the narrative, explaining the reasons why it happens then and there, or conversely, it may be due to the spatial and temporal setting that the action occurs precisely at that time and at that place.
In comics, representing an event in space and time is to recreate a specific atmosphere using a group of objective resources a — perspective, an architecture, a light?or some objects —, which cause sensory and emotional perception of the space described — an atmosphere, a temperature, sounds or smells —, and complete its reason to happen.
Put in another way, the comic scenarios, despite not needing graphical representations from the same language — beyond setting a space with a specific frame, as a film’s photography director would do — and using a realistic description of the suggested environment, build the feeling of the general states as an evocation, those?to which the protagonists of the story are subjected once inserted into these spaces. As in life, the environment evokes emotions and generates pulses that, although they can be very different in different characters, are logical for the resolution of specific conflicts of the narrative (on a rainy Sunday in New York, Amanda stays at home and makes some tea, but on that same rainy Sunday in New York, inspector Waltz goes for a walk in Central Park), paving the way for the action to advance toward the next setting, and so on until the end.
By isolating the scenarios where action takes place, leaving them devoid of the characters who need them to drive the narrative, the spaces take on new meanings which seem open to the infinite possibilities of action it may contain but, even more, reveal and assert their own existence beyond the narrative residues displayed in them,?or the layers of meaning that emerge from its formal representation, expressing their infinite state of contemplation in time.