| To make a map of my movement – | – no matter how temporary” (581-2). “How satisfying it is,” he thinks, “to leave a mark on a blank surface. The last two pages (581-2), with a total of three panels, show one small rectangle of text per panel, but even those texts depict not spoken language but the thoughts of the work’s main character, Craig, who in this scene is by himself. 1 The first three of those pages (578-80) are wordless, indeed textless but for the page numbers, hand-drawn but non-diegetic, in lower left-hand (on verso) and right-hand (recto) corners.

Since Blankets is a comic – it calls itself “an illustrated novel” (cover) and a “graphic novel” (front matter, unnumbered 4) – and thus consists entirely of visuals, including conventional visual representation of verbal and other auditory events, ‘silence’ means that on those final five pages no sounds are explicitly depicted.

Volume 3, Issue 2: William Blake and Visual CultureĬraig Thompson’s Blankets (Top Shelf Productions 2003) ends with five pages of ‘silence’ (578-82).

Volume 3, Issue 3: Comics and Childhood.

Volume 4, Issue 1: The Comics Work of Neil Gaiman.

Volume 4, Issue 3: ImageSexT Proceedings.

Volume 5, Issue 3: Convergences Proceedings.

Volume 5, Issue 4: Alan Moore and Adaptation.

Volume 6, Issue 2: ImageNext Proceedings.

Volume 6, Issue 3: Shakespeare and Visual Rhetoric.

Volume 7, Issue 1: Worlds of the Hernandez Brothers.

Volume 8, Issue 1: Monsters in the Margins.

Volume 9, Issue 2: Mixing Visual Media in Comics.

Volume 10, Issue 3: Comics and Fine Art Forum.

Batman beyond the white knight 4