What about stories that don't really have MC? My comic doesn't really have one. I find, personally , sticking with the same character quite boring. XD I switch between characters, but I use a 3rd person point of view, more speicifcally I use 3rd Person Objective or Dramatic... (you can read more about it below). None of the thoughts of my characters are given. So I'll never use thought bubbles! XD I either have them keep their thoughts to themselves or say things out loud.
Taken from: http://learn.lexiconic.net/pov.htm These are more for novels, but the basic idea still applies.
Here are the six major types of point of view:
3rd Person Omniscient: Told from the p.o.v. of an outside narrator, the "omniscient" author nevertheless gets inside the thoughts and feelings of any character he or she wishes (in other words, two or more characters). This p.o.v. offers a lot of information, and is suitable for large, complex novels. This was a common p.o.v. in 18th and 19th century novels [authors of the time often entered the story as all-judging moralists], but it's much less common today. .
3rd Person Limited Omniscient: In order to limit the information, and focus the attention of the reader onto one character, the author will sometimes tell a story by entering the mind of one key character (usually the protagonist). As in all 3rd person p.o.v.'s, limited omniscience does not use "I" or "my".
3rd Person Objective or Dramatic: Here the outside narration is completely bereft of (lacking) any interior thinking. The author, and the readers, can only observe exterior actions and dialogue, and from that infer a character's thoughts. In other words, the author must describe gestures and actions that indirectly show how a character feels, thinks and deals with internal conflict. Authors will use this p.o.v. to achieve a high degree of realism, since it mimics how we interact in real-life. It's also useful to shield the reader from the true thoughts and feelings of the characters, as in Shirley Jackson's suspenseful "The Lottery".
1st Person Central: This perspective is told from the p.o.v. of the main character. It allows the author to bring the reader closer to the character, and create more sympathy for the character's struggles. However, it also limits the reader to one person's perspective, and we don't have a broader, more balanced point of view. Nevertheless, this view grants a sense of immediacy: we see everything through this character's eyes.
1st Person Peripheral: This also uses "I" or '"my," but from the p.o.v. of a minor character who observes - usually in a more neutral and detached manner - the actions of the main characters. Like with 3rd person objective, the detachment from the main character(s) creates a lack of knowledge, and heightens the suspense.
2nd Person: This is a relatively rare point of view and is difficult to sustain. It is based upon the address of one speaker to a second person. It uses the "you" and "your" pronouns throughout, which, as you can imagine, is difficult to maintain without sounding repetitive. Here's an example: You will receive the revised essay criteria by Tuesday, September 22. You will have an opportunity to respond to it in writing before October 17. In fiction, the "you" being addressed is often a central character, and the effect is to turn the reader into the character. A classic example of this is Will Baker's "Grace Period".
