![]() ![]() The panel shows the landscape, trees on the left side of the panel bending towards the right and the car on the right side of the panel speeding towards the edge of the frame. ![]() Powell’s silhouetted panel after these carefree ones marks the shift in tone. We see them driving towards the horizon, Danny staring out the window, Danny staring at the map, and Danny with his head out the window catching the air as they travel down the road. There are countless other sequences and scenes that I could discuss, but every time I read The Silence of Our Friends, this sequence stands out, specifically for the ways that it conveys so much emotion merely through Powell’s illustrations, the majority of the sequence has no words, and in this manner, it highlights the power that graphic texts have in the ways that they use the interactions between words, images, and layout to transmit the emotion to the reader.Īs Larry and Danny drive from Houston to Freeport, the initial panels shows scenes that relate to a carefree road trip. ![]() ![]() Today, I want to wrap up that discussion by examining a sequence where Larry takes Danny to Freeport to go crabbing. Over the last two posts, I’ve looked at some scenes in Mark Long, Jim Demonakos, and Nate Powell’s The Silence of Our Friends. ![]()
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