Difference between revisions of "Scaffold"
(Created page with "{{Infobox book |name = Scaffold I-XXII & XXIII-XLIV |author = author::V. A. Graham & author::J. A. Eisenhower |image = Graham VA Eisenhower JA Scaffold I-XLIV 2012-201...") |
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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
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| Author | V. A. Graham & J. A. Eisenhower |
|---|---|
| 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.
