Before I begin, I'd like to start off by saying thanks for nailing this article today. I'm currently working on an interesting project and trying to figure out how to scramble the order of events and locations in order to keep the story understandable, and also interesting, in the sense that the beginning of the actual book isn't the beginning, chronologically, but it acts as the beginning as a way of introducing everything and being a beginning... Blah. Anyway. This helps me understand what I should and what I shouldn't do.
And also before I begin, a couple of my cents: In all my comic book projects, I *TRY* to keep scene changes on the beginning of pages. It all depends, obviously, on whatever it is you're doing / going for, but if it's a big scene change, or one that's going to last for a while, I feel like putting it into the space of time that it takes a reader to turn the page lets their attention come back and kinda start over on the next page / beginning of the new scene. I hate doing them in the middle of pages. I can see, though, ala Alan Moore, using the final panel of one page to begin the next scene, while the previous panel ended the last scene. Then on the page turn, the actual new scene kicks off, while the last panel acted as a 'transition' kind of deal. Okay, I'm getting ahead of myself, and sorry Lee for going on such a tangent. This is all just MY personal opinion. No rules at all. This is just what I go for in my own projects, and I felt like bringing it up. I tried to keep it short, but if it is going off too far on a tangent, feel free to delete these coupld of paragraphs and just leave in my attempts at the exercise. Anyway--
1. Two separate spaces in two separate panels. I like to think I took a somewhat interesting / creative, but still simple enough approach to this to adequately convey where we are in each panel.
Panel 1: A shot from the front of a man staring straight at us. He is in his 60's, has an intense look on his face, and has a beard. The shot is from his waist up. His hands are on the counter, which is at the bottom of the panel.
Panel 2: Over the shoulder shot of the same exact man, although now his shoulder is in the bottom left of the panel. The rest of the panel shows a bathroom mirror, which is identical to the previous panel of the man looking at himself, however any noticeable features are in reverse this time around (duh, he's looking at his reflection).
I think I succeeded here. The first panel is obviously a shot of the man from the perspective of the bathroom mirror, or between the man and the mirror. The second shot is on the opposite side of the bathroom, near the wall behind the man, and focusing now on his reflection / shoulder in the foreground. In the first panel, we introduce a man, and in the second we reveal where we are, where we were previously, and what's going on. I feel it works.
2. Bridging two separate spaces. (Quick question on bridging: Can you bridge a speech balloon on panel 1 with a narration box on panel 2? Or would that not work? If you can't, if instead you can only bridge speech balloons or narration balloons, then does it matter where the dialogue begins? I'm assuming not, since the sky's the limit and we, as creators, can do whatever we want. But does the bridge MEAN that the balloon in panel 1 takes place in panel 1, while the balloon in panel 2 takes place in panel 2? Or is this kind of thing somewhat vague? Can the balloon in panel 2 not NECESSARILY be taking place in panel two, but furthering the time frame / speech on panel 1, while introducing the NEW visual aspect of panel 2? Does any of this make sense? Lol)
Quickly, I originally had my number 3 as this number 2. Then as I went back to read the test, and reread the second and third assignments, I realized what I came up with for 2. worked better for 3. And now I'm rewriting my number 2, while bumping my former 2. to number 3. Anyway.
Panel 1. A shot of a Vietnam jungle, greenery in the background, in the middle ground a bunch of shadowed / blacked out figures are standing there pointing guns at us.
Narration: And as the shit hit the fan in Vietnam, it couldn't help but remind me of another time passed...
Panel 2: A shot of a middle school lunch room, background is the green of the walls, in the middle ground a bunch of middle school students are staring, pointing, and laughing at us, the viewer.
Narration: ...My time in middle school.
I think this works, although it DOES jump in both time and distance. It goes from a young man in Vietnam to his time in middle school. It jumps both locations and times. The locations are obvious (Vietnam and middle school), however the times could vary. If this does fail, I will try another attempt at number 2; Trying to bridge just two separate places, not separate times also. Though I do think this does work, and if it does, I'll go ahead and try using my creativity on a few more attempts to see if I can dig up any invisible stones to use in the future. Muahaha.
3. Bridging two spaces in two panels with the balloon of one character.
Panel 1: A shot of a man walking down a street in New York City with the Statue of Liberty in the background.
Narration: That year I was lost. I was wandering all the way from the east coast...--(bridged to panel 2)
Panel 2: A shot of the same man walking along a busy Hollywood street. In the background on the hill is that famous 'Hollywood' sign.
Narration: (continued from panel 1) ....To the west coast.
I feel as though this works. I show the visual elements to remind the reader of where we are, and I reinforce those with the narration so there can be no miscommunication at all.