Images convey scenes, underscore
text, and even work against the text. A single graphic usually indicates
a single anchor destination, but sometimes multiple graphics will form
one graphic, as in brandchannel [5].
Both efferent sites and aesthetic works used graphics as anchors.
Graphic
anchor introductions
Graphic introductions to a work which primarily
uses text links can bring the few graphics into greater importance:
Graphic anchors, like icons, can
provide the main mode of navigation through a piece, as 25
Ways to Close a Photograph [41]introduces character speculations
by face. Graphic navigation can provide:
Setting:~water
~water ~water~ [59]use a series of graphics to evoke a sensation
of floating on water or of being immersed in water.
Elucidation/obfuscation: Lexia
to Perplexia [43]and _][ad][Dressed in a Skin C.ode [44]use background images which sometimes are-- and
sometimes are not--anchors to bring portions of the background to the
foreground in significance, but also to provide an underlying commentary
on the functions of visual language.
Subtle connections: Marble
Springs [36] and The
Ballad of Sand and Harry Soot [61]use graphics as nearly
silent entrances to nodes
that are connected below the surface. As Odin remarks of The Ballad
of Sand and Harry Soot: "there is a continuous interpenetration
of the foreground and the background and the text and the image. Strickland's
use of graphic anchors plays a major role in that interpenetration.
[104]
" Marble Springs uses graphics to explore
subconscious connections that the characters will not
admit to.