Editing 82: Frame

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[[Cueball]] is standing in the middle of the first square panel, but then the panel's frame starts warping away from being square and starts to form into tendrils that move toward him, then slowly wrap themselves around him, and finally retract, reforming the frame again, but pulling him apart in the process, in a rather macabre comic.
 
[[Cueball]] is standing in the middle of the first square panel, but then the panel's frame starts warping away from being square and starts to form into tendrils that move toward him, then slowly wrap themselves around him, and finally retract, reforming the frame again, but pulling him apart in the process, in a rather macabre comic.
  
βˆ’
Typically, the frame on a cartoon is used to separate different periods of the action. Here, this has been subverted by the frame becoming a character, the main protagonist, and sole survivor of the strip.
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There is some indication that Cueball is also just part of a drawing since his upper torso with parts of each arm is left hanging in the air without any tendrils touching it. If it was not stuck in the center of the image, it would fall down, but more importantly, even if all tendrils pulled very fast at the same time, it is highly unlikely that they could pull so precisely that the body would split in four pieces around this remaining body cross, and one of the tendrils should have pulled this part along with either an arm, the head, or the lower torso. This could be some comfort for those who think that this is too much. Of course, it could also just be something that [[Randall]] did not think was important in such a {{w|Surrealism|surreal}} comic.  
βˆ’
 
 
βˆ’
There is some indication that Cueball is also just part of a drawing, since his upper torso, with parts of each arm, is left hanging in the air without any tendrils touching it. If it was not stuck in the center of the image, it would fall down, but more importantly, even if all tendrils pulled very fast at the same time, it is highly unlikely that they could pull so precisely that the body would split in four pieces around this remaining body cross, and one of the tendrils should have pulled this part along with either an arm, the head, or the lower torso. This could be some comfort for those who think that this is too much. Of course, it could also just be something that [[Randall]] did not think was important in such a {{w|Surrealism|surreal}} comic.  
 
  
 
Comics often use artifacts on the frame to add mood to the comic. This comic then makes those artifacts a major feature of the comic, like a {{w|Chekhov's gun}} ("If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off.")  The use of creative panel layouts and effects was first made possible in newspaper comics at the insistence of Bill Watterson, author of Calvin and Hobbes (which it is known that Randall has been influenced by), requiring lengthy negotiations due to the printing technology of the time. The creative use of panel layout and effects is thus part of the artistic legacy of Calvin and Hobbes. xkcd, among others, has continued along that path of pushing the boundaries of the medium.
 
Comics often use artifacts on the frame to add mood to the comic. This comic then makes those artifacts a major feature of the comic, like a {{w|Chekhov's gun}} ("If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off.")  The use of creative panel layouts and effects was first made possible in newspaper comics at the insistence of Bill Watterson, author of Calvin and Hobbes (which it is known that Randall has been influenced by), requiring lengthy negotiations due to the printing technology of the time. The creative use of panel layout and effects is thus part of the artistic legacy of Calvin and Hobbes. xkcd, among others, has continued along that path of pushing the boundaries of the medium.

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