There's some interesting stuff here with the arrangement/sequencing of the text, which reads differently depending on how your eyes move over the page. The topmost phrases, for example, could be read as:
"Cut to the fucking chase!"
"Once we were many..."
"I'm a human time ruin"
or:
"Cut to the fucking human"
"Chase time"
"Once we were many... ruin"
I think it's brilliant when comics exploit graphic design and image composition to suggest multiple, contradictory meanings. Alan Moore and Williams III's Promethea is probably the most famous example. Others I know of are "Bulletproof Coffin: Disinterred" #4 by Hine and Kane, which encourages the reader to cut out and rearrange the panels; "Ice Cream Man" #13 by Prince and Morazzo, where the panels can be read last-page-to-first to create a different narrative; and "Gideon Falls" by Lemire and Sorrentino, where the 2D panels are mapped onto Escher-esque optical illusions to spectacularly fuck with your brain.
[ Listen to Pendulum ]
There's some interesting stuff here with the arrangement/sequencing of the text, which reads differently depending on how your eyes move over the page. The topmost phrases, for example, could be read as:
"Cut to the fucking chase!"
"Once we were many..."
"I'm a human time ruin"
or:
"Cut to the fucking human"
"Chase time"
"Once we were many... ruin"
I think it's brilliant when comics exploit graphic design and image composition to suggest multiple, contradictory meanings. Alan Moore and Williams III's Promethea is probably the most famous example. Others I know of are "Bulletproof Coffin: Disinterred" #4 by Hine and Kane, which encourages the reader to cut out and rearrange the panels; "Ice Cream Man" #13 by Prince and Morazzo, where the panels can be read last-page-to-first to create a different narrative; and "Gideon Falls" by Lemire and Sorrentino, where the 2D panels are mapped onto Escher-esque optical illusions to spectacularly fuck with your brain.