Word: stevensã
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These sites—namely the Cellar and the Fogg Museum, where most of the story’s main characters work—are strikingly and realistically represented in Stevens?? pen-and-ink crosshatchings. And the characters who pass through these places do behave dumbly, providing a stark narrative counterpoint to the dramatic black and white imagery...
...writing is shifted over to the artwork. In this case, this shift is a very fortunate move as, sadly, the writing in “Guilty” can sometimes verge on the mediocre and there are also a number of misspellings in the dialogue. However, Stevens?? drawings are often so realistic and subtly attention-grabbing as to render the dialogue almost entirely irrelevant...
Although this aspect can occasionally be inconsistent as well, it is Stevens?? attentive pen-and-ink renderings that carry the work. Accordingly, Stevens often abandons the dialogue-driven narrative for an entire page, favoring a cinematic style of slow, atmospheric visual observation...
...While I’m reluctant to juxtapose “Guilty” with “The 400 Blows,” Stevens work definitely has an element of that same detachment and disaffection among its characters that infuses the oeuvres of Truffaut and his contemporaries. Further, Stevens?? visual style is reminiscent of cinematic montage, which wordlessly hints at a complexity of character and adds depth and texture to an otherwise straightforward story by injecting disparate, non-sequential images into the narrative...
...scenes in the Fogg bring me back to my first year here, when I was taking a freshman seminar on several works displayed in the Harvard Art Museums. Stevens?? depiction of the Cellar—and his beautiful and uncannily accurate portrait of Quinten—fast-forwards me to this year, inviting me to reminisce over all the fun nights out I’ve had with all the people whom I’ll soon have to refer to wistfully as “my college friends...