Difference between revisions of "Scaffold"
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|name = Scaffold I-XXII & XXIII-XLIV | |name = Scaffold I-XXII & XXIII-XLIV | ||
|author = [[author::V. A. Graham]] & [[author::J. A. Eisenhower]] | |author = [[author::V. A. Graham]] & [[author::J. A. Eisenhower]] | ||
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Graphically, ''Scaffold'' is a strange object. The pages of the series' books are entirely composed of different sets of quasi-architectural formations and various sets of unfolding landscapes mostly depicted frontally. The sequence follows an implicit, oulipian rule that the two artists agreed upon: no world location can ever be revisited or depicted again once it is left. They manifest the artists' desire to produce a system for conveying movement through sets of fixed structures where storytelling, consisting mostly in commonplace dialogues, is just a byproduct of these rigid superstructures. Scaffold reads like a post-human narrative; the reader is left to contemplate something similar to the sidescrolling of a platform video game. No main characters are present. No action takes place. Scaffold thematizes the narrative impact of the background layer. It is a demonstration of comics' intermedial referential capacities in regards to other media, here video games. | Graphically, ''Scaffold'' is a strange object. The pages of the series' books are entirely composed of different sets of quasi-architectural formations and various sets of unfolding landscapes mostly depicted frontally. The sequence follows an implicit, oulipian rule that the two artists agreed upon: no world location can ever be revisited or depicted again once it is left. They manifest the artists' desire to produce a system for conveying movement through sets of fixed structures where storytelling, consisting mostly in commonplace dialogues, is just a byproduct of these rigid superstructures. Scaffold reads like a post-human narrative; the reader is left to contemplate something similar to the sidescrolling of a platform video game. No main characters are present. No action takes place. Scaffold thematizes the narrative impact of the background layer. It is a demonstration of comics' intermedial referential capacities in regards to other media, here video games. | ||
+ | </onlyinclude> | ||
[[Category:Conceptual comics]] [[Category:Publication]] | [[Category:Conceptual comics]] [[Category:Publication]] |
Revision as of 17:09, 28 April 2019
Author | V. A. Graham & J. A. Eisenhower |
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Language | English |
Publisher | self-published (Most Ancient) |
City | Oakland |
Date | 2012-2015 |
Pages | 16, 16 |
Format | 21.6 x 23.5 cm |
Fabrication | Digital printing, silkscreen covers, handbound |
E-book |
Graphically, Scaffold is a strange object. The pages of the series' books are entirely composed of different sets of quasi-architectural formations and various sets of unfolding landscapes mostly depicted frontally. The sequence follows an implicit, oulipian rule that the two artists agreed upon: no world location can ever be revisited or depicted again once it is left. They manifest the artists' desire to produce a system for conveying movement through sets of fixed structures where storytelling, consisting mostly in commonplace dialogues, is just a byproduct of these rigid superstructures. Scaffold reads like a post-human narrative; the reader is left to contemplate something similar to the sidescrolling of a platform video game. No main characters are present. No action takes place. Scaffold thematizes the narrative impact of the background layer. It is a demonstration of comics' intermedial referential capacities in regards to other media, here video games.