City-Hunter Magazine #1 (2009), page 4 panels 1-3. CF.
This time it's a CF page under the microscope on Your Wednesday Sequence over at Robot 6. I had a lot of fun writing about this one because it (like pretty much everything CF does) engages very directly with the act and look of drawing. Felt like a little departure from the more technical, paneling-focused sequences I've written about in the last three installments. Rather than mess around with how his information is presented, CF just presents some fascinating information. Here he breaks down a crazy futuristic car and some sleazy neon lights into a single, motionless block of pure line in a cool three panels. And I break down how he does it. So come on over and have a look, I think I like this little piece. If you really need some extra prodding, it starts like this:
t’s easy to overlook just how incredible a thing sequence in comics can be. It’s the language the form uses to construct itself, so of course it’s going to gain some transparency for the average reader, become as silent and reliable and forgotten as the shapes of the individual letters that make up this article. Sequence is the most essential element of comics, and as such it’s taken for granted by many who engage the form.
But sequence is magic. To me the most mind blowing, amazing aspect of the comics form is how it can juxtapose multiple images that have absolutely no continuity, no relationship between themselves, and still force readers to see them as connected, inextricable, bound up in one whole. That might sound obvious or silly when they’re sitting right next to one another — comics panels do share the context of the pages they’re printed on, the books they reside in — but the same can be said for a Rembrandt hanging next to a Girodet in an art museum. That shared context is a mysterious and powerful thing. I’m not sure anybody can explain why it works, why we instinctively understand disconnected single-panel images as contributing parts of a whole. It just does. We just do. Read more