What's the General Feeling of Long Vertical Panels? - when to use them

[digitalvalium1]

As the title describes, what's the feeling of long vertical panels? How do they contribute to the emotional impact of a page?

I'm designing a page, and want to use long vertical panels rather than broad landscape format panels to introduce a setting. My initial thought was landscape format, but it seems boring after the first rough. I wanted to try a portrait format to convey that feeling of initial smallness and wariness, maybe with a low angle. As if something is about to change, but without pushing it too far and making it seem spooky and Amityville.

I've seen this work before, but can't remember the comic. So, I turn to you lot, experts that you are. What have you done in the past that has worked well? Or rather, as a reader, what's your impression, or reaction when you see this done?

[Evan]

I'm not an expert, but as a reader, long panels can signal transitions and slow down the pacing which is generally how I see them used.

[artsy_oleander]

I learned that panels help with pacing. Very small panels tend to be read as fast while large/long panels are read slow. When introducing a new setting, I know of two ways. You can use long panels (which will slow down the pacing) or you can focus on specific elements of the environment with short/small panels (which will speed up the pacing).

Another thing I noticed about panels is that it can affect the mood of your comic. Using small panels and drawing characters large creates a claustrophobic feeling, which increases the idea of anxiety. Drawing a small character in a large panel can (sometimes) create a sense of loneliness, or insignificance (This one depends on what's going on for the page :/)

As a creator, I enjoy using long panels to slow down the pace so I can pick up the pace on the next page. As a reader, sometimes the comic uses long panels for just landscapes and I skim over those, which can be annoying.

(BTW A great book I recommend that talks A LOT about this is "Making Comics:Storytelling Secrets of Comic, Manga and Graphic Novels" by Scott McCloud.)

[digitalvalium1]

I know that name. I think I read one of his books at one time. Either way, I'll look for it. Thank you.

[AnnaLandin]

Long vertical panels work well for transitions from one emotional state to another, or for a gradual intro of a new feeling/atmosphere, or character, or setting - imagine it as a camera slowly panning down on the opening of a new scene in a movie.

Unfortunately, I see a lot of longer vertical panels used in regular dialogue scenes in vertical-scroll comics - that is, you have to scroll a bit to see the entire content of a regular, person-says-something-panel - which is usually not a good idea, formatting-wise.

But as landscape panels and transitions? Long verticals are useful! Also, panels of characters falling are obviously a good place for long verticals as well.

[monotone_ink]

Long panels I think would usually slow down the pace, and as most in this thread have mentioned, are good for presenting more gradual things, such as changes in emotions, transitions, or landscapes.

[digitalvalium1]

I wanted to take a moment and thank everyone for their kind replies before I forgot to. I appreciate your time and willingness to share your experience. Again, thank you.

[TrustyShamrock]

yup yup i agree with pretty much all the things. transitions and slowing stuff down and whatnot. i think theyre also good for tall things. like a big monster or building. or if someones high up. OR if someone looks up to someone else. like if theyre a hero or boss. ya could probably make that work
i saw them used before to make someone feel trapped if the panels are really thin
i guess theres a bunch of stuff ya could swing with them. i think a lot of it also hasta do with camera angle and junk