Davorin Dernovek

Interpretation of Comics through Intentional Conflict

Abstract
This article examines intentionally conflicting verbal in pictorial elements within comics
panels; a relatively rare theoretical concept in the comics medium that adds complexity to the
narration and demands a deeper understanding from the reader. While the use of this
construct can range from a non-linear storytelling technique, an ironic comedic punch-line, to
a through-provoking marketing scheme, the subsequent analysis will focus solely on its
emergence in comics, particularly of the Anglo-American production. Intentional conflict is a
diverse, culturally and psychologically rich and extremely underexamined tool, so its further
comprehension is paramount.
Key words: comics, intentional conflict, contrast, pictorial and linguistic elements, reception.

Interpretation of Comics through Intentional Conflict

Visual world
We live in a world full of visual imprints, ranging from our arts to our daily lives. Whether
present digitally or in the real world, we must learn to distinguish and understand the more
and more complex visual stimuli of our expressions and existence. Most of our daily
experiences occur visually; it is said that up to 80 % of the neurons in the human cortex
respond to visual stimuli (Vishton 2011: Lecture 1), which seems to mean that we are
preordained to view the word visually. To stress the visual aristocracy further, our eyes are
capable of decoding more variables than our ears for example, since the sound vibrations are
slower than the vibration of light (Watts 2008: 16).
What is even more striking, however, is the fact that our visual system despite its multitude of
light-sensitive cells depends heavily on inferences (Vishton 2011: Lecture 1), making our
involvement in the world quite literally a guessing and puzzle-solving experience. In fact, our
photoreceptors are relegated to noticing only a quite narrow range of the electromagnetic
spectrum (Livingstone 2002: 14). Our central means of experiencing the world is thus
paradoxically extremely fragile. Despite the ability of immediate recognition of the focused
elements, perception as such is generally actually fairly unreliable, easily succumbing to
abnormalities and illusions (cf. Bothwell and Mayfield 1991; Arnheim 1997a, 1997b;
Livingstone 2002).1 This may in fact reflect on the human state as a whole, our fragile nature
and general capitulation in light of cognitive, hormonal and emotional stimuli that govern our
daily lives.
In light of this, it is also important to note that both our brain structure and its functions can
change according to what we do and how we approach our subject matter. The process is
called experience-dependent neuroplasticity (Siegel 2014: Lecture 3). Our vital organ is
1

In terms of general perception and subsequent comprehension and reception, we can observe a two-part
system at work, the first functioning on the personal level and indicating instinctual reactions, while the
second works within the cultural sphere and needs to be learned and mastered (Lidwell 2013: Lecture 1; cf.
Arnheim 1997b: 23). These two modes of perception take on the characteristics of the personal and the social
sphere, where both are essentially intertwined and affect one-another. This principle entails two modes
thinking and experiencing (reason and sensory perception) that shape both the individual as well the society
itself (cf. Arnheim 1997b: 81, 233-4).

essentially a muscle that can get strengthened through knowledge and experience or can
deteriorate by lack of (appropriate) stimuli. The same way as we train our visual coherence,
we train our brain according to our lives and undertaken actions. Thus, it would seem that the
greater comprehension (of for example visual images), which comes through learning,
repetition and inherent interest, is not evident merely through theorizing and interpreting
prowess, but leaves a quite vivid neurological stamp as well. The fact that one can though
long practice internalize a process and change ones perception of the world (cf. Lidwell
2013: Lecture 1), is quite astonishing, yet it points to human pragmatic and cognitive abilities
to instill change, even in our brain structure (cf. Siegel 2014: Lectures 19-21). All of this (and
more) affects visual literacy (cf. Lopes 1996; Duncan and Smith 2009; Vintar ed. 2009; Cohn
2013), reading and interpretation of comics, the subject of this paper, obviously not being
excluded.
Fluency of pictorial2 comprehension is essential in understanding not only the visual interplay
in comics, but the world around us. We can relate this kind of knowledge to what Rudolf
Arnheim describes as visual perception:
The feat of extricating a particular element from a pattern shows intelligence at work
within perception itself. [] Intelligence is often the ability to wrest a hidden feature
or disguised relation from an adverse content. It is an ability that can lead to important
discoveries. (Arnheim 1997b: 70)
It must be noted that perception is heavily influenced by a wide number of stimuli, ranging
from personal (in)abilities and expectations to social factors, stemming either directly from
our environment or indirectly from the laws and regulations of the superorganism that is our
society. Consequently, visual recognition may be hindered by the phenomenon called
inattentional blindness (Vishton 2011: Lecture 14; Levy 2013: 123; Siegel 2014: Lecture 4).
When ones attention is fixated on particular task, they may overlook a specific detail; we do
not perceive a particular (detail of a) visual image, despite looking at it (in)directly. Since our
mind has been programmed to a particular undertaking and reading comics is generally
subject to a relatively fast pace, we do not bother with any other detail. While linguistically
skimming through a text for a particular goal results in a similar lack of detail or other
specifics, this issue is pictorially more visually shocking, as it results in looking at a
2

Since the term visual applies to both linguistic and pictorial elements, the latter terms will be used for the
purpose of differentiating the appropriate elements in this study of comics.

picture, yet not really seeing it, while words nevertheless require more decoding. Unless we
employ extremely close reading, we expect to miss a particular detail; as opposed to
instantaneous recognition we have learned to expect from observing pictures.

Intentional conflict
With this general theoretical framework in mind, we can venture into the particulars of this
paper, namely, a very specific and fundamental tool for expressing the pictorial and verbal
elements more complexly within a picture frame, especially through the so called meaningful
imbalance. I call this method intentional conflict. The notion of intentional conflict initially
began as an extension of one of the categories Scott McCloud employs to describe
relationships between pictures and words within a comics panel or page; namely, the
interdependent combination. Such a sequence represents an idea that neither pictures nor
words alone can convey (McCloud 1994: 155). A purely pictorial viewpoint may have a
slightly different narrative as opposed to the textual counterpart, or they can both individually
imply a different notion. These combinations may not be as common in comics (cf. McCloud
2006: 137), but are used specifically to achieve unique effects both because of their
infrequency3 as well as the dual (verbal and pictorial) meaning.
An argument can definitely be made that comics4 employ a greater amount of such complex
interactions between pictures and words than other mediums, since the narrative nature of the
medium not only allows for differentiation, but becomes paramount and an indicator of
artistic growth. These combinations, along with parallel and montage arrangements (cf.
McCloud 1994: 154) represent the beauty and complexity of picture-word interaction and
belong among the more difficult elements for the author to master and the reader to interpret
(cf. Duncan and Smith 2009: 146-67). The reason for this is that they require non-linear
3

The less is more concept, which goes hand in hand with the principle of simplification for amplification; in
essence using selective means most effectively with restraint, so that when a particular element is stressed, it
has more impact for the reader (i.e. use of red, yellow and blue color in an otherwise black-and-white Sin City,
use of splash pages in the final chapter of Watchmen) (cf. Rankin Poore 1967; Lopes 1996; Arnheim 1997a,
1997b; Bang 2000: 40; Schutz and Kitchen eds. 2001; Talon 2004; Abel and Madden 2008; Heer and Worcester
2009; Mateu-Mestre 2010; Cooney 2011; Bancroft 2012).
4

And especially contemporary comics, where (especially from the birth of the graphic novel) an increasingly
more complex story is in demand by the multilingual, media-savvy readership (cf. Van Lente and Dunlavey
2012).

thinking and working outside the box or regularity, where pictures and words for example
coincide. That is the most typical arrangement that strengthens the overall product through
both pictorial and verbal means; it is particularly present in marketing and in childrens
picture books to stress the subject matter twofold for greater (faster and even subliminal)
recognition (cf. Salisbury and Styles 2013).
In a picture of a grimacing child whose expression can only be described as irritation there is
a profound difference between the accompanying text saying: Im angry, or the words:
Im happy. While the first instance represents the natural logic at work, where we have
long ago learnt to linguistically characterize basic emotional responses (in this case dually
stressing the notion of anger), the second example creates a discrepancy, if not setting off an
alarm of conflicting expectations, which demand that more complex ideological and
psychological mechanism at play must be considered, not merely dismissing the conflicting
depiction as a mistake or an unimportant detail, since it can deter the general fast-pace of
reading comics.
Bearing this in mind, Picture 1 exemplifies an emotional response (or lack thereof) of the
female depicted, where her constrained verbal explanation in the caption clashes with the
powder keg of anger boiling inside of her, pictorially stressed by the angularly more
dangerous, stronger and darker unnatural lines as opposed to a normal portrayal of a human
being. The close-up depiction creates further unease, as the reader can not only sympathize
with the situation of not always (finding a way of) expressing their true emotions to their
loved ones, but the reception of such a seemingly in-your-face picture further stresses the
desired impact of this panel.

Picture 1 (Gaiman et al. 2008: 88)

The use of McCloudian duo-specific combinations, where both elements present roughly the
same message, is extremely pragmatic. The codependence of picture and word can create a
more intimate, meaningful comics panel, stressing the same aspect twice, through two
distinct modes of expression. Thus created doubling effect can be very powerful and
persuasive, especially if color, layout, etc. strive towards the same result. Saying the same
thing twice in different ways is a very useful tool, commercially enticing the consumer with a
two-for-one sale (even road signs follow a similar route, pun intended). The effect can be
quite subliminal, especially if the author maintains a steady use of imagery throughout the
whole work (cf. Meadows and Marshall Eds. 2008). On the other hand, overuse of repetition
of the message through two modes of expression can lead to a patronizing effect and can
make comics too predictable and immature.
An intentionally conflicting situation takes a different approach, since the message is
intended to be smart, witty, etc., demanding greater participation from the observers, leading
them one way, only to turn it around at the very end in order to see the point. If codependence
relies on stressing something, intentional conflict depends on proving a point through
contrast. While commercials and marketing make ample use of such elements, they tend to
make a point in a shorter amount of time and space, whereas comics can build towards such a
revelation. For the most part, however, comics employ a wide array of ingenious panel
arrangements that could in themselves be small masterpieces (cf. Talon 2007), yet they are
just natural parts of the narrative.
Such differentiations are noticeable only through the fundamental concept of contrast.
Contrast in one form or another guides all that we do. From the artistry of notan, Daoist
existentialism to structuralism of de Saussure, contrast becomes the essence of art and
creation in general.5 The most obvious and natural function of contrast (and paradoxically the
least noticeable since it has already been internalized), is that it actually enables us to see (cf.
Bang 2000: 80). Baring this in mind, it would not be a bold statement in the least to claim
that contrast is all we see (or do not see) (cf. Mateu-Mestre 2010: 75). Further, the more rapid
the change, the (ideologically) stronger it is perceived: Many visual perceptions, such as
luminance, color, motion, and depth, exhibit greater sensitivity to abrupt than to gradual

Human perception of the world depends heavily on contrast. We perceive motion for example only after it
has already occurred; therefore motion becomes intrinsically linked to its diametrically opposed stillness as a
way of distinguishing changes in the perceived world (cf. Vishton 2011: Lecture 5).

change. Livingstone 2002: 58) The starker the contrast, the greater shape and color value
differences, the more noticeable it thus is, since the eyes are drawn to it (Bothwell and
Mayfield 1991: 57). Even psychologically, we are shocked more by unexpected, unforeseen
changes (whether temporal, material, etc.), while the gradual differentiations remain
concealed, as they do not peak our responses in either extreme, so we readily internalize
them.
A visually conflicting image works similarly to contrast; the same way as a small black spot
on an otherwise white background will stand out precisely because it offsets the stability, an
unexpected element in a picture draws the observer to it. This issue is especially powerful in
conflicting situations, since the unknown and the unexpected draw us in like a suppermassive black hole. Pictures and especially sequential comics images have a distinct
advantage of creating a world of internal rules and references; when reading, we become
immersed into the microcosmos of the work and follow its (author-driven) guidelines. When
something unexpected, conflicting occurs, it sores out like a sore thumb and raises an alarm
of counter-expectations, not unlike when dealing with abstraction (cf. Cumming 2005: 35873). The readers then has to cope with this anomaly as best as they can, even if it means
straying away from the established comfort zone of the work, or even more so, ones own
personal comfort zone.
There are ample examples of this in real life, one merely needs to observe the revolutionary
thinking, experiences and discoveries against the common, accepted and (falsely) established
rules and beliefs (of life in general). Such conflicting ideas are inspirational like
tricksters in any mythological tradition they appear (cf. Rosenberg 1994; Hyde 2008;
Leeming 2009) who jolt everyone out of their coziness and force them to start thinking in a
different light. Intentional conflict similarly forces the reader to employ deeper receptive
skills.
Staying with the mythological theme for a moment more, Picture 2 depicts a conflicting
situation where the verbal elements clearly carry the bulk of the information, describing a
character that the western Christian tradition typically recognizes. His portrayal is darkened
to create suspense and entice the western reader to think of Jesus.

Picture 2 (Van Lente and Dunlavey 2009: 281)

The revelation is thus that much more striking, as the second panel reveals Mithras as the
character in question. Conflict is therefore more ideological and cultural than strictly
dependent on the objective representation and correlation of verbal and pictorial elements
(plus it spans through two panels). On the other hand, applying more hermeneutic reasoning,
the comic Action Philosophers! is brimming with such thought-provoking, intelligently ironic
imagery, so the reader at this later stage of the work already comes to suspect that there may
be a catch. Consequently, this does not negate the actual conflicting situation, but illuminates
the reader to expect a different revelation from the one the first panel is hinting at.
The tone Picture 3 is grimmer, keeping in line with the theme of the post-apocalyptic comic
Sweet Tooth.

Picture 3 (Lemire and Villarrubia 2010: 12)

While the text creates a reassurance that the person is fine, the pictorial elements point to just
the opposite. The result is a conflicting situation that forces the reader to understand the panel

more complexly and from different points of view. Similarly, such conflicting situations
require close reading, since the small verbal reference could easily be overlooked, especially
since the pictorial stress is on the health (or lack thereof) of the father portrayed and his state
is directed at the reader, not the young son, whom he tries not to worry. Further, the
consequence may not be taken nonchalantly, since the son has a strong affinity to his father,
so the fathers reassured response (albeit insincere) is given a stronger value in the eyes of
both the son and the reader. Since the story is presented at the backdrop of a massive
extinction and the pair is living alone in isolation, the fathers white lie gives the child much
needed relief, while creating tension for the readers, as they are aware of the seriousness of
the situation.
Picture 4 exemplifies the sophistication of conflicting imagery. The dark, visually
dominating, shadowy figure (Hellboy) in the background towers over a seemingly feeble
older man (Bruttenholm), whose pale disposition and bowed head add to the pictorial danger
he seem to be facing, as the dark silhouette reflects the fearful unknown, while the red eyes
point to unnatural, even sinister nature of the creature. Since this is the first panel in which
Hellboy interacts and speaks with another character in the story, the reader is also kept in the
dark (pun intended) as to his intentions, resulting in greater unease and expectations.

Picture 4 (Mignola et al. 2008: 20)

The linguistic elements, however, suppress danger in favor of Hellboys respect and perhaps
even awe towards the old man. The value of this single panel for the Hellboy canon is beyond
important, since it immediately reassures the reader of the noble intentions of the protagonist
of the series, while drawing upon the human side of the monster that is later revealed to be

destined to destroy the world of humankind. This latter notion becomes a central issue of
Hellboys own inner struggle, in an effort not to succumb to his inherent bestial nature. As
such, this conflicting scenario functions on many levels, with rereadings adding more layers
to both the eponymous character and the series itself.
Arguably, Picture 3 and Picture 4 bear more weight than Picture 2 from a strictly narrative
viewpoint, since they are essentially establishing shots for their lengthier comics series,
Sweet Tooth and Hellboy, respectively, where cohesion and coherence6 play a larger role than
in Action Philosophers!, which is a collection of stories of intellectual interplay and
philosophical deconstruction.
Obviously, the reasons and desired effects of using intentionally conflicting visual
arrangements vary even more, also depending on the layers of narration.

Picture 5 (Willingham et al. 2014: 20)

In Picture 5, the hands behind the girl are in the second tier of pictorial depiction, depicted
only for the reader, while the girl pictorially and verbally stays in perfect ignorance of the
upcoming danger, which is strengthened by the unnaturally large nails that are creeping
behind her from the darkness. Thus, in this case, the conflict occurs primarily within the
pictorial elements, as the visual of sharp, anthropomorphic, monstrous hands has a stronger

As rereadings of a given work play an important role as well, it should be noted that perception depends on
the hermeneutic cycle, which postulates that the understanding of a given work gains more concrete, specific
and even complex meaning(s) with every (re)reading (cf. Dolinar 1991). While overinterpretation can occur,
understanding the basics of visual storytelling (from drawing appropriate body postures to verbalizing your
characters according with their character) keeps interpretation in check.

resonance than it would have been, had the reader been told through words of the impending
danger.7
Baring these examples in mind, we must make a stark distinction between conflict and
confusion. Intentional conflict is a comics method that enables the author to create a sense of
insecurity, differentiation and reversal of meaning akin to a punch line in comic strips that
also sometimes deliberately go against expectations (cf. Abel and Madden 2008: 28). Conflict
consequently engages the reader more intensely in the work, for the objects at hand are not
merely inviting scrutiny, but the complex understanding of the comic hinges on the readers
ability to notice these elements and feel elated by their meaning. To err is human, so
confusion can definitely occur; however, I would argue that the best works intentionally
organize panels a certain way or create the illusion of misunderstanding, which nevertheless
after close reading not only enlightens many of the previously unnoticed references but can in
the process open up the readers mind even further to the complexities of the subject matter.
Confusion does create an onrush of excessive stimuli attacking a receptive sensorium [and]
occurs when the input is too strong or the processing power too weak, (Arnheim 1997b:
167) yet even this kind of overwhelming experience can be rewarding, since the intrigue of
understanding can be more powerful than the fear or difficulty of subject matter.
Consequently, confusion per se in comics is for the most part more technical or spatial than
ideological or actually wrong.8 The creative development of a comic is an arduous process
with a multitude of editing levels. The final product is thus a polished work whose seeming
mistakes are for the most part deliberate and in strict service to the storytelling.

Conflict for the future

Pragmatically, conflict creates a clash, an unexpected situation that you have to make sense
of one way or another. We try to create as much meaning as possible while we read,
deciphering the elements of inquiry as we go along. Consequently, our brain is developing a
set of expectations about a given word or picture (cf. Vishton 2011: Lecture 10), in the
7

The crucial aspect of this distinction lies in the perception of pictures as received information and words as
perceived information (McCloud 1994: 49).
8

Confusion can for example result from an awkward placement of panels because of lack of space to
adequately portray the events in question.

process stressing the environmental, social expectations built into our way of thinking, and
reading symbols of all kind we create and surround ourselves with.
As we have seen, intentional conflict stresses more than the unexpectancy of a situation
presented before us. By going against the grain of expectation, the text/art urges more acute
interaction form its reader, demanding in this case greater visual literacy. 9 It just so happens
that sometimes conflicting situations make sense only after numerous readings and even
understanding the authors themselves, since their worldview and cultural existence have a
direct influence on their consequent artistic products. Further, both authors and readers need
to be aware of the biological and cognitive characteristics at play when we open a comic
book (of course not to the detriment of enjoyment of reading), since they clearly represent
and essential aspect of our greater subconscious. Intentional conflict is a vital element of
understanding the complex world of comics. The panel or page that can be labeled as
conflicting makes use of the basic and most vital device in comics: using pictures and words
in unison to create a visual product that neither could achieve in isolation. Subsequently, it is
beyond fitting that the reader has to go through a similar intricate process of arranging and
rearranging the observed scene in order to make sense of its diversity. Comprehension of
anything we come in contact with, whether a philosophical treatise, religious doctrine or a
casual doodle is subject to a complex web of stimuli that constantly teach us no matter how
much we already (think we) know (about the subject matter). Intentional conflict is the prime
example of the comics equation, where the whole is far greater than the sum of its parts. As
such, it merits further scrutiny as much as the whole comics medium demands laboriously
established attention. Food for thought, indeed.

The intentionally conflicting imagery teaches similarly to how comix and alternative comics once spurred on
newer techniques and cultural viewpoints (cf. Duncan and Smith 2009; Van Lente and Dunlavey 2009; Sabin
2010).

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