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Speech balloons (also speech bubbles, dialogue balloons, or word balloons) are a graphic convention used most commonly in comic books, comics, and cartoons to allow words (and much less often, pictures) to be understood as representing a character's speech or thoughts. A formal distinction is often made between the balloon that indicates speech and the one that indicates thoughts; the balloon that conveys thoughts is often referred to as a thought bubble or conversation cloud.

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One of the earliest antecedents to the modern speech bubble were the "speech scrolls", wispy lines that connected first-person speech to the mouths of the speakers in Mesoamerican art between 600 and 900 AD.[2]Earlier, paintings, depicting stories in subsequent frames, using descriptive text resembling bubbles-text, were used in murals, one such example written in Greek, dating to the 2nd century, found in Capitolias, today in Jordan.[3]

In the UK in 1825 The Glasgow Looking Glass, regarded as the world's first comic magazine, was created by English satirical cartoonist William Heath. Containing the world's first comic strip, it also made it the first to use speech bubbles.

Richard F. Outcault's Yellow Kid is generally credited as the first American comic strip character. His words initially appeared on his yellow shirt, but word balloons very much like those used presently were added almost immediately, as early as 1896. By the start of the 20th century, word balloons were ubiquitous; since that time, few American comic strips and comic books have relied on captions, notably Hal Foster's Prince Valiant and the early Tarzan comic strip during the 1930s. In Europe, where text comics were more common, the adoption of speech balloons was slower, with well-known examples being Alain Saint-Ogan's Zig et Puce (1925), Herg's The Adventures of Tintin (1929), and Rob-Vel's Spirou (1938).

The most common is the speech bubble. It is used in two forms for two circumstances: an in-panel character and an off-panel character. An in-panel character (one who is fully or mostly visible in the panel of the strip of comic that the reader is viewing) uses a bubble with a pointer, termed a tail, directed towards the speaker.

When one character has multiple balloons within a panel, often only the balloon nearest to the speaker's head has a tail, and the others are connected to it in sequence by narrow bands. This style is often used in Mad Magazine, due to its "call-and-response" dialogue-based humor.

An off-panel character (the comic book equivalent of being "off screen") has several options, some of them rather unconventional. The first is a standard speech bubble with a tail pointing toward the speaker's position (sometimes seen with a symbol at the end to represent specific characters). The second option, which originated in manga, has the tail pointing into the bubble, instead of out. (This tail is still pointing towards the speaker.) The third option replaces the tail with a sort of bottleneck that connects with the side of the panel. It can be seen in the works of Marjane Satrapi (author of Persepolis).

In American comics, a bubble without a tail means that the speaker is not merely outside the reader's field of view, but also invisible to the viewpoint character, often as an unspecified member of a crowd.

Characters distant (in space or time) from the scene of the panel can still speak, in squared bubbles without a tail; this usage, equivalent to voice-over for movies, is not uncommon in American comics for dramatic contrast. In contrast to captions, the corners of such balloons never coincide with those of the panel; for further distinction, they often have a double outline, a different background color, or quotation marks.

The chain thought bubble is the almost universal symbol for thinking in cartoons. It consists of a large, cloud-like bubble containing the text of the thought, with a chain of increasingly smaller circular bubbles leading to the character. Some artists use an elliptical bubble instead of a cloud-shaped one.

Another, less conventional thought bubble has emerged: the "fuzzy" thought bubble. Used in manga (by such artists as Ken Akamatsu), the fuzzy bubble is roughly circular in shape (generally), but the edge of the bubble is not a line but a collection of spikes close to each other, creating the impression of fuzziness. Fuzzy thought bubbles do not use tails, and are placed near the character who is thinking.

Thought bubbles are sometimes seen as an inefficient method of expressing thought because they are attached directly to the head of the thinker, unlike methods such as caption boxes, which can be used both as an expression of thought and narration while existing in an entirely different panel from the character thinking. However, they are restricted to the current viewpoint character. An example is Alan Moore and David Lloyd's V for Vendetta, wherein during one chapter, a monologue expressed in captions serves not only to express the thoughts of a character but also the mood, status and actions of three others.

Captions are generally used for narration purposes, such as showing location and time, or conveying editorial commentary. They are generally rectangular and positioned near the edge of the panel. Often they are also colored to indicate the difference between themselves and the word balloons used by the characters, which are almost always white. Increasingly in modern comics, captions are frequently used to convey an internal monologue or typical speech.[7]

Also noteworthy are the many variations of the form created by Dave Sim for his comic Cerebus the Aardvark. Depending on the shape, size, and position of the bubble, as well as the texture and shape of the letters within it, Sim could convey large amounts of information about the speaker. This included separate bubbles for different states of mind (drunkenness, etc.), for echoes, and a special class of bubbles for one single floating apparition.

An early pioneer in experimenting with many different types of speech balloons and lettering for different types of speech was Walt Kelly, for his Pogo strip. Deacon Mushrat speaks with blackletter words, P.T. Bridgeport speaks in circus posters, Sarcophagus MacAbre speaks in condolence cards, "Mr. Pig" (a take on Nikita Khrushchev) speaks in faux Cyrillic, etc.

In the famous French comic series Asterix, Goscinny and Uderzo use bubbles without tails to indicate a distant or unseen speaker. They have also experimented with using different types of lettering for characters of different nationalities to indicate that they speak a different language which Asterix may not understand; Goths speak in blackletter, Greeks in angular lettering (though always understood by the Gaulish main characters, so it is more of an accent than a language), Norse with "Nrdic ccents", Egyptians in faux hieroglyphs (depictive illustrations and rebuses), etc. Another experiment with speech bubbles was exclusive to one book, Asterix and the Roman Agent. The agent in question is a vile manipulator who creates discord in a group of people with a single innocent-sounding comment. His victims start quarreling and ultimately fighting each other while speaking in green-colored speech bubbles.

Font variation is a common tactic in comics. The Sandman series, written by Neil Gaiman and lettered by Todd Klein, features many characters whose speech bubbles are written with a font that is exclusive to them. For examples, the main character, the gloomy Dream, speaks in wavy-edged bubbles, completely black, with similarly wavy white lettering. His sister, the scatterbrained and whimsical Delirium speaks in bubbles in a many-colored explosive background with uneven lettering, and the irreverent raven Matthew speaks in a shaky angular kind of bubble with scratchy lettering. Other characters, such as John Dee, have special shapes of bubbles for their own.[8]

In manga, there is a tendency to include the speech necessary for the storyline in balloons, while small scribbles outside the balloons add side comments, often used for irony or to show that they are said in a much smaller voice. Satsuki Yotsuba in the manga series Negima is notable because she speaks almost entirely in side scribble.

One of the universal emblems of the art of comics is the use of a single punctuation mark to depict a character's emotions, much more efficiently than any possible sentence. A speech bubble with a single big question mark (?) (often drawn by hand, not counted as part of the lettering) denotes confusion or ignorance. An exclamation mark (!) indicates surprise or terror. This device is used much in the European comic tradition, the Belgian artist Herg's The Adventures of Tintin series being a good example. Sometimes, the punctuation marks stand alone above the character's head, with no bubble needed.

Some comics will have the actual foreign language in the speech balloon, with the translation as a footnote; this is done with Latin aphorisms in Asterix. In the webcomic Stand Still, Stay Silent, in which characters may speak up to five different languages in the same scene, most dialogue is unmarked (languages mostly being inferred by who is speaking and to whom), but miniature flags indicate the language being spoken where this is relevant.

It is a convention for American comics that the sound of a snore is represented as a series of Z's, dating back at least to Rudolph Dirks' early 20th-century strip The Katzenjammer Kids.[9] This practice has even been reduced to a single letter Z, so that a speech bubble with this letter standing all alone means the character is sleeping in most humorous comics. This can be seen, for instance, in Charles Schulz's Peanuts comic strips. 17dc91bb1f