Instead, the “literal architecture” I intend to examine is the graphic construction and arrangement of letterforms in Sin City, specifically the onomatopoeic word Blam which conveys, visually, the sound of a gunshot. Yet just as there is no “real” Basin City, the object here is not its “real” architecture-the construction of its tenements and townhouses. The series’ interplay between experimental black-and-white artwork and the storytelling conventions of crime comics and noir cinema make the universe of Miller’s fictional Basin City, with its motley collection of lowlifes, assassins, and crooked politicos, fruitful for study. Sin City, written and illustrated by Frank Miller, has long been renowned for its striking, nihilistic style.
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