novel approach


And now they’re back. All because a few teenagers, who never even considered the consequences, decided to reignite a supernatural force they barely understand.

AU concept: paul mccartney is a private investigator whose specialty is investigating high end fraud. unlike many in his field, paul tends to have a… hands on approach with his “clients”. known for his charm, pretty face, and clever one-liners, he’s a force to be reckoned with, which explains why he is put on the case of one john lennon, a bestselling author whose reputation swings from eccentric genius to playboy extraordinaire. paul’s task should be simple: figure out if john is the novelist he’s purported to be. the catch? try not to fall in love on the job. or at the very least try not to sleep with the mark. should be easy - right?

A Dialectic Approach to Comics Form II: Dis/Continuity

Loto #5 : Mouvement Absolu

Another dialectic relationship in fundamental formal features of comics is continuity and discontinuity. In comics actual images are discontinuous, distinctive and different, but the reader interprets it as a continuous action by the same character in the same space-time. We do not read the first three panels of Alexis Beauclair’s Loto #5 : Mouvement Absolu as three different instances of the ball at rest in three different space-times. We interpret it as the ball continuoisly moving through a tube. The reader produces the continuity out of discontinuity. The reader is an active reader.

When the reader perceives the continuity in comics, s/he unconsciously focuses on the common factors and ignores the differences. In Krazy Kat, the background changes panel by panel, but the reader interprets the work as characters remaining in the same place, not as characters moving to different spaces panel by panel. This demonstrates another dis/continuity in comics: the ability to present differently when depicting the same concept. In Krazy Kat, it’s the landscape / background. Here again, the reader creates the discontinuity out of continuity, but this time, the artist consciously employs this dialectic relationship for the work.

First six pages of Hundert Ansichten der Speicherstadt

Martin tom Dieck’s Hundert Ansichten der Speicherstadt exploits this dis/continuity to the extreme. In Dieck’s silent comics, there are few repeated elements or images among the pages. The reader needs to take the time to recognize the object and the association between different images, rather than perceives the repeated same images right away.

Vincent Fortemps’ Barques deploys this dis/continuity and association to study the issue of representation. Fortemps draws on Rhoid sheets with crayon, then scratches the sheet with knives. Barques’ images are associated by appearance. We are accustom to reading the discontinuous images as a continuous action or situation, for example the different representations of the same object or concept. 

But Barques refuses to be read this way. One image looks like a silent ocean. Another image looks like a boat. Another image looks like a wave. Another image looks like an abstract painting. These images blur the distinction between figuration and abstraction, as well as what images represent. Barques asks us the question what comics and ultimately, images represent. Do they really exist? Or are they an illusion created by the reader? 

Fortemps creates objects (Fortemps said that his comics-making is more akin to sculpture than drawing), not images. However, in the end, the reader sees the pure, reproduced images, as opposed to a material object. This contradiction of production and reception corresponds to this question on the ontology of representation.

Scott: Those two, they’re pretty good together.

Kira: Yea, they are.

Scott: No super strength, or samurai swords. But they stay alive.

Kira: He still likes her, doesn’t he?

Scott: Yea. Yea, but it’s different now. You should’ve seen the way he used to be around her.

Kira: Was it bad?

Scott: It was kind of obsessive. But not all bad. You know, Lydia used to pretend not to be smart?

Kira: Our Lydia?

Scott: Yes, Stiles was the only who knew.

Kira: How?

Scott: He paid attention. He listened to her. He remembered.


Stiles: Lydia, I’m going with you.

Lydia: I thought you said you were sick.

Stiles: I’m slightly under the weather.

Lydia: You don’t have to come. Malia’s not going either.

Stiles: Well, Malia’s not going because she knows that that place is a nightmare asylum of insanity and death, ok? Let’s go.

Lydia: What was that?

Stiles: What was what?

Lydia: You winced.

Stiles: I have a bad elbow.

Lydia: It was your shoulder.

Stiles: Pain radiates.

Stiles: You are not going without me. You remember what happened to Deaton when he talked to Valack?

Lydia: Scott and Kira are going to be there.

Stiles: I’m not letting you go to the place where one of the orderlies almost killed you.

Lydia: He almost killed you too!

Stiles: And we’re both still alive! See? Teamwork.