(From Segar's Popeye.) The offstage violence is a beautiful touch for Segar's typically overt and visibly deranged violence; Segar prefers speed lines instead of sound effects for his slam-pow panels. It looks as if the dirty deed is taking place in the right gutter, but by reading left-to-right, over the gutter, you will still not get a glimpse of the fight, only the after-fight. These sound effects are the products of real-time action lagging a little behind: the sounds are appropriately cushioned inside word balloons and are floating beside jogging, not shooting, stars. This panel is a fight between immediacy and tranquility.
This is my blog about comic book panels. Come float with the biffs and the bops. Next up: Sound Effects, Part 2 with David Lapham.