The game What Remains of Edith Finch is a great success in visualising the narrative space of a text. In the game, narrator text floats in the space of the screen and can be interacted with by the movement of the characters.
Joseph Frank in Spatial Forms of the Modern Novel mentions that through a deeper reading of a literary text, the reader can construct a space in his or her own mind; through this act of construction the reader produces more integrated, multi-meaning, complex and even contradictory interpretations. The direct connection between the text and the visual space in the game, where the message conveyed by the text merges with our perception of the image, achieves an overlap between the narrative of the text and the present moment.
What Remains of Edith Finch is a series of bizarre stories about an old family.
Frank, Joseph. “Spatial Form in Modern Literature: An Essay in Two Parts.” The Sewanee Review 53, no. 2 (1945): 221–40. http://www.jstor.org/stable/27537575.
Jenny Morgan
Morgan prefers to paint patterns resembling light or water with ambiguous monochromatic or contrasting colours, creating a smooth, satin-like texture.There is a vague appearance of reflections, faces, and female genitalia, which creates a sense of mysterious and religious solemnity. Between the two symmetrical curved snakes, the viewer glimpses a landscape in a canal meant to be a vagina, a belly button hanging in the sky.
The History of False Pleasures（2020）
I am reminded of Milan Kundera's meditation on the sexual attraction of the female navel in la fête de l'insignifiance; in Alain's memory of his last meeting with his mother, as a young boy, his navel was gazed and touched by her for a long time, and since then the navel has been imagined as a symbol, a special switch, from personal experience (which need not be factual).
Gabriella Boyd
Gabriella Boyd's illustrating dreams, as interpreted by Freud series, is, as the name suggests, a secondary translation of the patient's dreams in Freud's Interpreting Dreams. This idea was interesting to me, as I came to realise that psychoanalysis is an important tool for text-image transformation. At the same time, the idea of making something complex into something simple was a very seductive one.
“I now feel better and better the time on this highly intelligent horse; I am sitting comfortably and increasingly feel very much at home here”
Xie Nanxing
Xie's Spice series is named after Christopher Columbus who mistook the American continent he discovered for 'India' and mistook the bark of an unknown tree for the Indian 'spice', cinnamon.
In his paintings, common themes and classic compositions from the history of Western art are implicitly inserted into the picture.
How close to the truth is the understanding of Western classical art by a Chinese painter who grew up in the context of socialist realism? The clues from the classical world that the artist extracted from his personal impressions only provide a vaguely ambiguous context for his paintings, and the storytelling elements of the classical subject matter itself are gradually stripped away and replaced, becoming the 'spice' of Xie Nanxing's own artistic expression.