Speech balloon
From Open Encyclopedia
Image:Fukidashi.png Speech balloons (also speech bubbles, dialogue balloons, or word balloons) are a graphic convention used in comic books, strips, and cartoons to allow words (and much less often, pictures) to be understood as representing the speech or thoughts of a given character in the comic. There is often a formal distinction between the balloon that indicates thoughts and the one that indicates words spoken aloud: the bubble that conveys subjective thoughts is often referred to as a thought balloon.
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History
Labels that reveal what a pictured figure is speaking have appeared in Western graphic art since at least the 13th century. More recognizably modern "speech balloons" begin appearing in 17th century printed broadsides. With the development of the comics industry in the 20th century, the appearance of speech balloons has become increasingly standardized, though the formal conventions that have evolved in different cultures (USA as opposed to Japan, for example), can be quite distinct.
The Yellow Kid is generally credited as the first true comic strip character. His words appeared on his yellow shirt. But word balloons very much like those in use today were added almost immediately. The Yellow Kid speaks inside a word balloon as early as 1896. By the start of the 20th century, the use of word balloons was ubiquitous, and since that time only a very few comic strips and comic books have relied on captions, notably Hal Foster's Prince Valiant and the early Tarzan comic strip. For many years, word balloons were less common in Europe than in the USA, or were used together with captions. One example is the Dutch cartoonist Marten Toonder's comics about Tom Puss and Oliver B. Bumble, where the literary captions are printed out below the strip and almost take up as much space as the drawings, so that the strip fills twice the space of most newspaper strips. A similar example from England is Rupert the Bear.
Popular forms
Speech bubbles
The most common is the speech bubble. It comes in two forms for two circumstances: An in-panel character and an off-panel character. An in-panel character (one who is fully or mostly visible in the panel of the strip of comic that the reader is viewing) uses a bubble with a pointer, called a tail, directed towards the speaker coming out of it.
Image:Combubble speech offscreen.PNG
An off-panel character (the comic book equivalent of being "off screen") has several options, some of them rather unconventional. The first is just a standard speech bubble with the tail pointing to the side of the panel that the speaker is closest to. The second option, which is currently only used in manga, has the tail pointing into the bubble, instead of out. (This tail is still pointing towards the speaker.) The third option appears to be the creation of graphic novelist Marjane Satrapi (author of Persepolis), and replaces the tail with a sort of bottleneck that connects with the side of the panel.
Some American comics have used a speech bubble without a tail, to show that the location and identity of the speaker are nondescript or part of a large crowd.
Off-panel characters who are also off the time and space shown in the panel, not uncommon in American comics for dramatic purposes, often speak in square bubbles without a tail, thus looking like captions. To prevent them to be wrongly taken as captions, these off-panel voices are written between double quotes.
Thought bubbles
Thought bubbles come in two forms: the chain thought bubble and the "fuzzy" bubble.
The chain thought bubble is the almost universal symbol for thinking in cartoons. It consists of a large, cloud-like bubble containing the text of the thought, which is connected to the area next to a character by a chain of increasingly smaller circular bubbles.
Another, less conventional thought bubble has emerged: the "fuzzy" thought bubble. Used in manga (by such artists as Ken Akamatsu), the fuzzy bubble is roughly circular in shape (generally), but the edge of the bubble is not a line but a collection of spikes close to each other, creating the impression of fuzziness. Fuzzy thought bubbles do not use tails, and are placed in the area of the character who is thinking.
Other forms
The shape of a speech balloon can be used to convey further information. Common ones include the following:
- Scream bubbles have a spiny "exploding" outline, often a flash-like tail and usually contain bold large lettering. They indicate that the speaker is screaming.
- Broadcast bubbles (also known as radio bubbles) may have a jagged tail like the conventional drawing of a lightning flash and a squared-off, jagged outline. Letters are sometimes italicised without also being bold. Broadcast bubbles indicate that the speaker is communicating through an electronic device, such as a radio or television, or is robotic.
- Whisper bubbles have a dashed outline, and usually contains small dim lettering. They indicate that the speaker is whispering.
- Icicle bubbles have large "icicles" dropping from them. They indicate that the speaker is "ice cold" towards someone or something.
Captions
Captions are generally used for narration purposes. They are generally square and connected to the edge of the panel. Often they are also colored to indicate the difference between them and the bubbles used by the characters, which are almost always white.
Artist-specific variations
Image:YellowKid.jpeg Some characters and strips use highly unconventional methods of communication. Perhaps the most notable is the Yellow Kid, an early American comic strip. His (but not the other characters') words would appear on his large, smock-like shirt.
Also noteworthy are the many variations on the form created by Dave Sim for his comic Cerebus the Aardvark. Depending on the shape, size, and position of the bubble, as well as the texture and shape of the letters within it, Sim could convey large amounts of information about the speaker. This included separate bubbles for different states of mind (drunkenness, etc), for echoes, and a special class of bubbles for one single floating apparition.
An early pioneer in experimenting with many different types of speech balloons and lettering for different types of speech was Walt Kelly, in his Pogo strip.
In the famous French comic series Asterix, Goscinny and Uderzo use bubbles without tails to indicate a distant or unseen speaker. They also have had fun experimenting with many different types of lettering to suit characters with distinct nationalities, thus meaning they speak a different language that Asterix may not understand, but the readers can. So Goths spoke in a "black letter" font, Greek had a more angular font than normal, Norse used Nørdic åccents, Egyptian was in faux hieroglyphics etc. Another original experiment with speech bubbles was exclusive to one album, Asterix and the Roman Agent. The agent in question was a vile manipulator who could create dissention amongst any group of people with a single innocent-sounding comment. His victims start quarreling and ultimately fighting each other while speaking in green-colored speech bubbles, which symbolize darnel.
Font variation is a common tactic in comics. The Sandman series, written by Neil Gaiman, features many characters whose speech bubbles are written with a font that is exclusive to them. Some examples, the main character, the gloomy Dream speaks in wavy-edged bubbles, completely black, with similarly wavy white lettering. His sister, the scatterbrained and whimsical Delirium speaks in bubbles in a many-colored explosive background with uneven lettering, and the irreverent raven Matthew speaks in a shaky angular kind of bubble with scratchy lettering. Other characters, such as John Dee, have special shapes of bubbles for their own.
In MAD Magazine, in the recurring "Monroe" comic strip, in which certain words are written larger or in unusual fonts for emphasis.
In manga, there is a tendency to include the speech necessary for the storyline in balloons, while small scribbles outside the balloons add ironic comments.
Graphic symbols in speech bubbles
Speech bubbles are used not only to include a character's words, but also emotions, voice inflections and unspecified language.
Punctuation marks
One of the universal emblems of the art of comics is the use of a single punctuation mark to depict a character's emotions, much more efficiently than any possible sentence. A speech bubble with a single big question mark (?) (often drawn by hand, not counted as part of the lettering) denotes confusion or ignorance. An exclamation mark (!) means big surprise or terror. This resource is broadly used in the European comic tradition, the Belgian artist Hergé's Tintin series being a good example. In other countries, the punctuation marks stand alone above the character's head, with no bubble needed.
In manga, the ellipsis is also used to express silence in a much more significant way than the mere absence of bubbles. This is specially seen when a character is supposed to say something, or when a sarcastic comment is expected by the reader. The ellipsis, along with the big drop of sweat on the character's temple —usually depicting shame or embarrassment caused by other people's actions— is one of the Japanese graphic symbols that have taken root in comics all around the world, although they are still rare in Western tradition.
The big Z
It is a convention in American comics that the sound of a snore can be reduced to a single letter Z. Thus a speech bubble with this letter standing all alone (again, drawn by hand rather than a font type) means the character is sleeping in most humorous comics. This can be seen, for instance, in Charles Schulz's Peanuts comic strips.
Being such a long-based resource, the Z-bubble doesn't even imply that the character is snoring anymore, but just sleeping. Jim Davis has based some jokes starring Garfield upon this technique. For example, in one strip, Garfield is unable to sleep because his Z-bubble is pointing in the wrong direction. When he grabs the bubble's tail to make it point at himself, he falls asleep.
Originally, the resemblance between the 'z' sound and that of a snore seemed exclusive to the English language. But the spread of American comics have made it become a frequent feature in other countries.
Drawings within the speech bubble
Singing characters usually have musical notes drawn into their word balloons. Archie Comics' Melody Valentine, a character in their Josie and the Pussycats comic, has musical notes drawn into her word balloons at all times, depicting the fact that she speaks in a sing-song voice.
The above mentioned Albert Uderzo in the Asterix series uses to decorate speech bubbles with beautiful flowers depicting a extremely soft, sweet voice (usually preceding a violent outburst by the same character).
A stormy cloud with a rough lightning sticking out of it, either in a bubble or just floating above the character's head as a modified 'cloudy' thought bubble, depicts anger, not always verbally expressed.
In comics that are usually addressed to children or teenagers, bad language is censored by replacing it with more or less elaborate drawings and expressionistic symbols. For example, instead of calling someone a swine, a pig is drawn in the speech bubble.
One example is the Spanish Mortadelo series, created by Francisco Ibáñez. Although not specifically addressed to children, Mortadelo was born during Francisco Franco's dictatorship, when censure was the order of the day and the slightest attempt of rough language was prohibited. When Ibáñez's characters are angry, donkey heads, lightning, lavatories, billy goats and even faux Japanese characters are often seen in their bubbles.
When Mortadelo was portrayed on film by Spanish director Javier Fesser in 2003, one of the critics made to his otherwise successful adaptation was the character's use of words that never appeared in the comics. Fesser claimed: "When you see a bubble speech containing a lightning falling on a pig, what do you imagine the character's saying?"
Order
In order for comic strip and graphic novel dialogue to make sense, it has to be read in order. Thus, conventions have evolved in the order in which the communication bubbles are read. The individual bubbles are read in the order of the language. For example, in English, the bubbles are read from left to right in a panel, while in Japanese, it is the other way around. Sometimes the bubbles are "stacked", with two characters having multiple bubbles, one above the other. Such stacks are read from the top down. Poor use of speech balloons can unintentionally make the proper reading order ambiguous, confusing the reader.
Fonts
- Image:Stop hand.png The factual accuracy of this section is disputed. Please view the article's talk page.
The cartoonist may or may not draw in all the individual letters in the balloons by hand. An alternative is to use a computer, a technique universal in translated manga. Either way, the font style used is almost an industry wide constant: all capitals in a rounded typeface similar to Comic Sans. Exceptions that are sometimes found are:
- The "c" in a surname of Scottish origin starting with "Mc".
- To indicate a frightened or quiet manner of speech.
- An interjection such as "er", "um", etc.
- In a few comics (for example the English language version of Tintin), uppercase and lowercase are used as in ordinary writing.
In the United States, the speech balloon font often uses a sans-serif "I" for the letter "i" appearing in normal words, but a serifed "I" for the English language pronoun "I".
