03 March 2015

Week 6 - Narrative Armature

1. How has the format of Understanding Comics contribute or hinder your understanding of the content? How does it differ from Storyboards with its textual presentation?

2. What is the relationship between icon and idea? What are the limits of ideation imposed by iconography?

3. In the McCloud reading he says, "The vehicle becomes an extension of our body. It absorbs our sense of identity. We become the car." Where is this phenomenon possible in architecture? Are we able to expand our identity into the entirety of a building? When?

4. McCloud claims that the efficacy of comics comes from the ability of the reader to project themselves into the characters presented. Do human forms in architectural drawings possess the same projective qualities? In what ways can that effect be heightened?

5. McCloud closes by calling comics "sequential art." Davids begins the conclusion by calling storyboards sequential narratives. What is the distinction between these concepts?

6. Is the relationship between the subject and time within a storyboard always linear? At what point is it to our advantage to depart from linear narrative?

7. Davids says, "the structure of the storyboard does not preclude alternatives [to a linear reading]: vertical or diagonal readings, skipping or revisiting frames." The narrative between frames remains fluid and undefined. What are the limits of that narrative? Or, what are the conceptual boundaries of the storyboard?

8. How is this narrative fluidity best applied to architectural (conceptual or realized) space?

9. Is our "increasingly symbol-oriented culture" (McCloud) inevitable through the function of mass communication? How would comics and storyboarding be changed in a less symbol saturated environment? Would they be as effective, or even possible?

10. Davids says, "The frame establishes the boundaries between inside and outside: what is inside anticipates the outside. The frame itself can be the subject." What is the relationship between subject, frame, and narrative? Or, how does the frame become pivotal in the reading of the narrative?


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