Is it important that to keep an iconic road map for your designs? How is this advantageous to the design concept? In what ways is this subversive to a design?
2.) Davids claims on pg 11.4 that cartoons refer to nothing beyond themselves. However McCloud would argue that the abstraction of the cartoon creates a vacuum which subconsciously pulls us into the identity of the cartoon, thus we become the cartoon (pg 37). What is your bias between the two views of the cartoon?
3.) On Pg. 38 McCloud describes Marshal Mcluhan's study of human's ability to attachment inanimate objects, seeing the object as an extension of themselves.
Have you ever consciously been found yourself attached to an object? (other than the examples in the reading) How did your behavior change?
How does product designer and capitalize on this behavior?
Can architecture absorb this quality?
4. ) Rene Davids discusses the placing of scenes out of sequence in film on pg. 11.3 & 11.4.
The films; Momento, Pulp Fiction, Babel, and Propos de Nice utilize this manipulation of time and story. To what extent do you think this effective in story telling or is it gimmick? Would the film(s) carry the same impact if you pieced it together in chronological sequence?
Have you experienced a building or place which utilizes this shuffling of sequence to create a unique experience? Was the shuffling designed or circumstantial?
5.) Davids explains media and technique are not neutral in their capacity to convey a concept. He claims storyboards were a precursor to animation in architectural representation. Animation is now a common form of presentation where often the designer will choose to reveal complete walk through of a particular project. In what way does this form of representation enhance or detract from the poignancy of the project?
6.) How would McCloud explain the longevity and popularity of South Park, the Simpsons, and Family Guy?