Comic Analysis - Tumblr Posts
Leo memory comic analysis I might add to eventually who know
Disclaimer: I’m not smart.
Disclaimerer: Not my art (@nerves-nebula)
Page 1
From the get go, we start with a clear image illustrating the situation, and a quick, concise summary of what led to the comic’s starting point; this informs the readers of the brothers’ motivation and goal in this story.
Then, despite the simple, exaggerated style of next panel, carrying a clearly rushed and comedic energy, the formatting is still well done, using the rule of thirds to draw the readers’ eyes to Draxum and Raph, respectively.
The next text box, draws a comparison to a Rise episode that utilizes this same trope using the same narrative device (a spell) as in said episode. This further helps the reader understand what is happening in the story, implying and stating that the brothers are going to travel through Leo’s mind and witness her memories.
The final image is centered, placing an emphasis on it. This part is important, because it marks the start of the brothers’ journey, clearly showing them casting the spell. Here, the background fades to white, creating an effect of a magical glow, while also transitioning into the gradient on next page’s background.
Page 2
The background starts white at the top, strokes turning darker as they travel down, until they reach black. It creates the impression of sinking, of falling into the mindscape. This also establishes the comic’s black borders, something indicative of the turtles being in the mindscape.
Accompanying this are three panels overtop, of Raph’s face as the spell activates. The soft white within these panels indicates this is him in the real world. He looks disgruntled and disoriented, and effect added to by the way the panels zoom in on him—his tensing jaw, his bracing squint—and the placement of those panels; they are disconnected, crooked, broken up in places.
This leads to a shot of the brothers standing together in the bottom center of the page, packed together. The border around their heads separates them from the background, while also filling up the space they’re in. Raph appears driven, if hesitant, and his wide open eye partnered with the previous images of him carry an animated feel which makes the components of the page be less disjointed when put together.
Mikey’s expression appears bored, he’s being flippant and casual about the mission. In contrast, Donnie seems anxious, but focused, worry/stress evident in how he holds himself. Behind them, there are waters and stone pavement; Donnie notes that the setting of most of Leo’s memories should be the sewers, establishing what the environment the entire rest of the comic will take place in.
Finally, large (loud) laughter leads of the bottom right of the page, leading the reader to the next page.
Page 3
The laughter is large and loud, taking up a lot of space as it stretches across the page, right above the beginnings of Splinter’s chiding. The size of the laughter could be alluding to how formative this event was to Leo, Splinter’s mocking laughter ringing loudly through the memory. The way the sound stretches along is also very cohesive with Raph in the panel below; it looks like he’s walking along with it, following the sound to its source.
The first two panels show a fluid sequence as Raph moves smoothly between actions. He hears the sound, then he follows it. His fast action and awareness—him being the only one shown to be doing this despite his brothers following—shows that he is the one taking their mission the most seriously.
In the third panel, all three brothers are somewhat acting as a frame, looking on at a distance. This separation allows the comic to veer away from them for a moment, as it focuses on the memory. Leo and Splinter are at focal points in the panel as they are the new subject of the comic.
In the next panel, Splinters’s expression is light, in similarity to the bright background. He seems unbothered, as he gives Leo his advice. Leo however, looks deeply confused, clearly bothered by Splinter’s flippancy and not at all comprehending the problem.
Taking focus, Leo argues that the dress he found is pretty. Her current mindset innocent and simple. There is an honest distress to his lack of understanding. His question is cut off, Splinter’s tone change made evident as he says Leonardo’s name in bold, his speech bubble outlined as no others have been thus far.
Leo is tiny and cropped, barely in the panel, as Splinter looms over her, appearance suddenly massive and menacing, the background dim. This is probably how Leo saw Splinter as his question was answered, how big of an impact those words made. He asks how Leo plans to be a warrior in something so ridiculous. He holds up Leo’s current life goal, her most guaranteed expectation, and tells her this behavior will get in the way. He calls the dress ridiculous, which would of course make Leo feel like he wouldn’t be taken seriously in it, like he’s inviting derision and mockery just by wearing it. In Leo’s mind, the dress now undermines her.
I have no need, Splinter says, giving Leo the idea that he might do something that would make him hold less worth. This would have made him feel like he could be discarded. And the use of the words feminine and undisciplined together no doubt form that association in Leo’s head, plants the idea that to partake in anything feminine is to be undisciplined, and to undisciplined is to be unworthy of Splinter’s affection.
In the next panel, she’s still looking up at Splinter. She is listening. And it only takes a moment for every word Splinter said to sink in.
This is the only point in the page where Leo stops looking up; he looks up to Splinter as a source of wisdom and authority, and so looks down on himself upon being “corrected”—the beginnings of self loathing. He’s also likely embarrassed at having done something so supposedly shameful without even realizing. The background surrounds him in black, as he takes these ideas to heart. He’s ashamed. Subdued. Leo apologizes for it all.
Page 4
A wide panel at the top of the next page, reintegrates Raph, Mikey, and Donnie into the scene, still watching the memory from a distance with some discomfort. The background shifts into Leo’s emotional state, the background taking on darker tones in messier strokes, the border becoming significantly less rigid, highlighting Leo as she becomes shrouded in that darkness.
The next panel shows him facing away, still seemingly part of a memory. Dark drips into the background around him. Mirroring this, it’s as if the border itself drips down, framing Leo, indicating her connection to this world. He turns, clearly addressing the turtles. His new eye stands out, glowing against the shadows of his new form.
As Leo explains that she needs help fighting the worm, Raph seems taken aback at being addressed by this child version of Leo, an open surprise on his face.
Raph pushes past the oddness of the situation as he agrees, but his averted eyes display that he finds this turn in their mission unsettling. Leo appears entirely stoic, in contrast to the real Leo seen into the memory, which drives the reader to separate the two to a degree.
Leo establishes that she’ll be the one taking them from memory to memory, in their search for the worm, driving the story along. This control he has over the story is emphasized by him tearing into the background, wherein three colours can be seen: Black only found in the comic borders and backgrounds; Purple and orange are similarly unique, seen only (in excess) on Leo himself. She swings her claws in an arc, ripping open a portal of sorts. And she stands next to it, entirely in black space, undeniably a part of the world around them.
oOo
Comic Links:
https://www.tumblr.com/nerves-nebula/713460172208635904/ayooooo-leo-memory-stuff-partttt-1
