Objects from the background gain color contrast that solidifies them as they bring news of the world outside the lab, of war. Drawn in a faint blue monochrome that lacks the definite contours that everything being paid attention to is afforded, Veronica and all her wonders. The go board gets pulled out and easels are wheeled around, but the door to the room never moves, the drop ceiling tiles stay in place, things clutter Daisy’s space the more the AI intellectually expands, but lab is lab. A friendship and then the end and then the beginning again.Ī fascinating play at style and engagement in sequential art. Things go wrong, real wrong, and then they go beyond. With that stage she shares an education of the whole of human history, one glimpse at a time (by the panel), and when the fragility of people comes down hard and clears the very footlights and floorboards from the view of its artificial audience as it sweeps said stage, Homunculus becomes the cycle of the seasons. A locked shot, not a static image throughout, where the bulk of the book plays out with Veronica as the only person on stage. As a result, Homunculus is one single shot for the entire book. An artificially intelligent metal mass constructed in Veronica’s laboratory. Daisy weighs two thousand pounds, has no legs or arms to move with, no head to turn, is a cube.
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