a tool used in THE MAJOR #1.

Steven Grant analisa os balões de pensamento, ferramenta usada no MAJOR #1:

In an artistic medium, there’s no point in abandoning any tool, though there’s also no point in returning to “old school” thought balloons. New narrative techniques and storytelling styles have freed us from that, and while going back might hold a nostalgic appeal for some, nostalgia’s always a dead end. There’s nothing to be gained from it except sentimentality, and that’s a dead end all its own. The fact is that ours is the only medium in which thought can be expressed directly and representationally, for effect. “Thought” can be expressed in TV, film and radio as voiceover, but it’s always spoken, at least until they invent telepathy for the masses. Characters express thoughts in prose fiction through a variety of techniques, but at a remote, with the authorial voice always acting as filter and interpreter, between character and reader. We don’t “hear” characters “think,” we “hear” authors tell us what characters “think.” Sure, there’s authorial voice in comics, and the author chooses words for all his characters (carefully, I’d hope) but our experience when reading a comic is that we are interacting with the characters, not with the author. In comics, the authorial voice is directly expressed only via narrative caption, and captions in comics exist at a remove from the action. They’re two separate if interrelated levels of the fiction’s “reality.