Hello everyone!

Today I would like to discuss the importance of panel layout in the comic book medium. I will focus on a few panels within All Star Superman, written by Grant Morrison and illustrated by Frank Quitely, in hopes to explore the function of splash and bleed panel structure. These panels will include the use of gutters to create a visual concept or theme to the book, as well as emphasize the idea of Superman and how larger than life he is.

First thing is first, I need to run through some definitions on certain terms.

1. Panel- A framed image in a comic that holds images together. Sequential use of panels creates a visual story.
2. Gutter- The small space between the panel work.
3. Splash page- An image or panel that extends itself beyond a one page limit.
4. Bleed page- An image that has no border to create a panel. These images feel like they can bleed off the page and continue. (OR… imagine cropping an image on the phone, that image still exists, but that picture is cut to fit the size of what is important in the photo)

Again, this is more of a “compare and contrast” rather than an ordinary review. Therefore, there may not be a direct ending to this piece but a more specific look at how space in a comic can create different ideas.

As a character who has been around for over 80 years, Superman has a lot history on the various adventures he has been on. Everyone knows who Superman is because he’s a main staple in our pop culture; but what do we need to know to understand a new story about him? The very first page (Image 1) re-establishes everything we as readers expect of Superman. This first page is so important because all of the questions we are asking pre-read are answered are solved in eight words divided into four panels. The way the panels are lined up (clean, balanced and somewhat traditional), along with the written text giving us direct meaning to what is happening, we can create what kind of character Superman is going to act like based on our prior knowledge of him. He stands for truth, justice, and you know the deal.

The very next page shown is a full bleed image that takes up two pages of Superman flying to what looks to be flames of the sun (Image 2). The first thing noteworthy to mention is Superman, who is drawn flying over these two pages. This image gives the impression that Superman is a fairly large character; he is confident, determined, in a powerful wide pose, and the “S” on his is clearly showing us that he is doing something heroic and recognizable to his character traits. He is Superman; larger and bolder than life itself. At the same point, the fire directly behind him is also important. Superman is big, but this fire engulfs him and is literally putting him in a shadow. Furthermore, the fire is such a danger that it seems to go beyond the limit of the page. 

These first few pages create a solid example on the Superman origins as well as whom he is. Paring the simple, easy to follow structure of the first page (balance in imagery and simple, direct text) to the expansive follow up bleed page is jarring in the best way possible. It’s the equivalent to seeing the Star Wars logo right after the familiar tag line. If there was audio music, John Williams would be playing his Superman theme as we gaze at that two page image.  That is how impactful these first few pages needed to be in order to engage readers with the excitement of Superman to follow.

                In direct contrast, Morrison and Quitely present the next big bleed page with more text and jolting panel layout. In image 3, Superman and Lois are discussing a heavy key that Superman uses to access the Fortress of Solicitude. It is an interesting bit of information readers get as Superman doesn’t really need a key to get to his artic secret base. But then again, that’s the unknown new idea Morrison is adding in this scene. Much like the first image, Superman having a fortress all on his own is something to expect in a comic. It holds the status quo on what we know about Superman. Unrelated would be the key, which may be an obscure reference to an older Superman comic, but most readers would assume Superman doesn’t need anything to enter his home (Who knows where the fortress is to go in there anyway?). Adding to the mixture is the panel layout. Comparing this image to image 1, they share similar layouts; they hold the story arrangement so it is easy to follow and is balanced in terms of gutter space structure. The huge difference is that image 3 has a bleed panel on the top and bottom. This makes the reading more dramatic and the bleed panel actually guides the reader into the next page, as if Superman is literally inviting the reader to his home.

                Image 4 is another double page bleed layout, but works completely different than image 2. Image 2 solidifies our expectations of Superman; however, image 4 just leads into more questions. First off, this fortress is reminiscent of the Batcave, a (well known) somewhat barren cave where the hero displays artifacts like a gallery. What are these items to Superman? Are any of them important to the story? In truth, much like Batman’s Batcave, the fortress entrance gives readers insight to the many adventures and accomplishments Superman has.  Readers somewhat grasp ideas of who Superman is through several easter egg items including the bottled city of Kandor (Might not be common knowledge?) and an airplane that Superman conveniently saves every other month. Other than that, however, Superman and all his trophies still remain a mystery to both the readers and Lois.

                Scale is a huge contrast to the previous images as well. Where Superman was the main focus in the first splash page, stretching out into both pages, he and Lois are the smallest things in this enormous fortress. Again, like Superman against the sun, the effect of a bleed page aids the lair to look like a mysterious giant; too massive in scale for the pages to hold in. A new edition to add to the mystery of these pages not found in the bigger superman image; is text. Superman’s dialogue, much like his scale size, pales in comparison to the title “Superman’s Forbidden Room”, which is conveniently on the top right side of the bleed image; as if the characters, as well as the readers, are looking into this void of empty space looking for an eerie answer to Superman’s  fortress.

                In conclusion, All Star Superman cleverly uses different forms of bleed and splash pages to create an engaging insight to the mythos of Superman.  Morrison and Quitely use illustration, panel work and text to present their story of Superman in an applealing way to readers. Bleed pages were used to both make Superman look, well, super, and to create an eerie mystery of whom Superman actually is. In short, All Star Superman displays a creative use of panel work to make this story more powerful than a locomotive.

Thank you for reading!

Resources: Morrison, Grant; All Star Superman; DC Comics; New York; 2007